ARRI News Munich Issue June English dpi by nikeborome

VIEWS: 437 PAGES: 44

                                           June 1998


                            ARRI Varicon
                            Single Frame Shutter
                            for the ARRIFLEX 435
                            New Accessories for
                            the Lens Control System
                            ARRISUN 120
                            ARRI X 12

EXPO 2000 Jet

                            Wing Commander

                Ice Storm

Wing Commander                                                                                            The Film
That’s right: when you hear the title WING COMMANDER you first think                             Thierry Arbogast: No, it was more a
                                                                                                 coincidence that Luc Besson made a Science
of the very popular computer game of the same name. It has now been
                                                                                                 Fiction film. As I had often worked with him
adapted for the cinema in a suitably ambitious way, using state of the art                       before, it was also clear that he would ask
technology. It is the year 2624. In the universe a war is going on. The                          me if I wanted to make the film.I very much
heroes – stranded war veterans and daring young pilots – get involved                            like the type of cinema which in France is
                                                                                                 called genre films – for example period dra-
in risky battles with each other and survive dangerous missions. Exciting                        mas, thrillers and of course also Science
fights and the struggle between good and bad are at the heart of this saga                       Fiction, which provide a particular chal-
in outer space. “The story borrows from the film, THE BOAT , adapted of                          lenge. I mean, I love films which belong to
                                                                                                 a precisely defined category.
course for outer space”, Chris Roberts describing his feature film. It is
the first time this American has directed a film – he also developed the                         R.W.: And what films do you like to go
computer game series of the same name.                                                           and see?
                                                                                                 Thierry Arbogast: I think highly of Fran-
                                                                                                 cis Ford Coppola’s THE GODFATHER , Michael
WING COMMANDER was filmed in Luxem-             Michael Ford can be found. They were re-         Cimino’s HEAVEN’S GATE and also Clint East-
bourg. With a budget of 45 million DM, it       sponsible for the design of the buildings and    wood’s PALE RIDER . As a visual person I
is the most expensive film project to date      details of the set construction. Both recently   prefer this style – when beautiful images are
made in the Grand Duchy. The film was           received an Oscar for their work on the          shown. In general these are North American
produced by the Carousel Picture Company        mega-production TITANIC . In total, 25 peo-      productions.
(AN AMERICAN WEREWOLF IN PARIS) which the       ple who worked on the TITANIC production
Luxembourger Romain Schroeder founded,          were hired to work on this project. César-       R.W.: On WING COMMANDER you also
together with his partner Tom Reeve in 1995.    winner Thierry Arbogast (films include THE       support Chris Roberts in directing, as he is
                                                FIFTH ELEMENT, LEON, SHE’S SO LOVELY ) was       actually a computer games programmer
The main roles are played by Freddie Prin-      responsible for image composition. He shot       and this is his first time directing. How did
ze jr. (I KNOW WHAT YOU DID LAST SUMMER)        WING COMMANDER with ARRIFLEX 535B                you cope with this extra function as well as
and Matthew Lillard (SCREAM ), two of Holly-    and 435 cameras. Robert Wiesmann, head           your tasks as DoP?
wood’s rising stars. In supporting roles are    of the ARRI Camera Rental Park in Munich,        Thierry Arbogast: Oh no – you can’t
Jürgen Prochnow (THE BOAT ) and Tchéky          spoke to him:                                    claim that I directed on WING COMMANDER
Karyo (NIKITA ). For his debut, Chris Roberts                                                    in any way. I just very much enjoy discussing
hired some of the best international special-   R.W.: Your last film, THE FIFTH ELEMENT was      with the director how a sequence should be
ists. In the team of over 170 people, such      the same genre. Can we assume that Science       shot. Or what possibilities existed to further
well-known names as Peter Lamont and            Fiction is your preferred film genre?            tighten up a sequence.
                                                                                                 With Luc Besson it’s completely different as
                                                                                                 he has a very exact idea of how a sequence
                                                                                                 should be shot. Often he even operates the
                                                                                                 camera. And then I’m the one who has to
                                                                                                 run after him. But I am, of course, very in-
                                                                                                 terested in the discussion with the director,
                                                                                                 as that is also part of filming.
                                                                                                 And although this was his first film, Chris
                                                                                                 Roberts is a brilliant director, especially
                                                                                                 technically. He is very enthusiastic about the
                                                                                                 cinematic medium. And there were already
                                                                                                 many filmic sequences in the WING COM-
                                                                                                 MANDER games, so you could say he has
                                                                                                 definitely a certain experience in directing.
                                                                                                                                                  PHOTOS: BLACK BOX PHOTO, ETIENNE BRAUN

                                                                                                 R.W.: On the set it was noticed that you
                                                                                                 let the operator work the camera, although
                                                                                                 particularly in Europe that’s not very com-

                                                                                                     R.W.: The budget of WING COMMANDER
                                                                                                     was much smaller than on T H E F I F T H E L E -
                                                           DoP Thierry Arbogast                      M E N T . Did that cause limitations?
                                                                                                     Thierry Arbogast: As a DoP you don’t
                                                                                                     have a lot of influence on the production’s
                                                                                                     problems. The limitations exist and you have
                                                                                                     to live with them. But that also happens on a
                                                                                                     large film and it’s not necessarily a question
Thierry Arbogast: First of all the se-              It doesn’t happen very often, but on WING        of budget. In any case you have a certain
quence is discussed with the director to get        COMMANDER that’s exactly what happened           responsibility to the production company.
a common understanding of it. Then, of              three or four times. And that alone justifies    And that means, if I don’t really need some-
course, I reach for the camera to establish         the system.                                      thing, I don’t take it. Even on a big film.
the image composition. Then I leave the field                                                        It is correct that less money was available
to the operator and tell him: that’s exactly        R.W.: You also had a special ground glass        for WING COMMANDER than for THE FIFTH
what we want.                                       which darkened the surroundings to neutra-       ELEMENT . Despite this, relatively speaking
The actual operating of the camera is a job         lise everything which wasn’t in the image.       the budgets for both films were very small.
which I don’t necessarily have to do. Some-         Was that the operator’s wish?
times it is also simply better to have an oper-     Thierry Arbogast: No, that was my idea.
ator on the scene.                                  I hate seeing things in the camera which are
                                                    outside the image. For me only the image
R.W.: You shot WING COMMANDER and                   counts – only the image composition and
THE FIFTH ELEMENT on Super 35. Who de-              nothing else around it. I would even like the
cided on this format?                               surrounding area to be completely black.
Thierry Arbogast: Well, it wasn’t my per-
sonal choice. On THE FIFTH ELEMENT the              R.W.: Doesn’t it bother you, for example,
recommendation on format came from Dig-             to only see the sound assistant’s microphone
ital Domain, as with anamorphic lenses the          once it comes into your image?
special effects would have been more com-           Thierry Arbogast:What can you do to
plicated. Luc Besson finally made the de-           stop it? All you can do is pivot to the ground
cision.                                             when you see a microphone coming towards
Personally I also like anamorphic lenses            the image, and that creates a bad image
because of the aesthetic reproduction – they        composition. To me it makes more sense to
create something bizarre in the image which         say: OK, let’s repeat the scene. It certainly
I find interesting. The same with zooms which       doesn’t justify leaving an edge around the       On WING COMMANDER we shot for 9 weeks
cause the image to no longer look quite as          actual image. However, I accept having very      with 4 cameras, on THE FIFTH ELEMENT it
natural. I would also like to try out the Vari-     dark grey shadows to enable the operator         was 20 weeks, again with 4 cameras.
able Primes one day.                                to at least have minimal points of reference.
                                                                                                     R.W.: Which of your own films is your
R.W.: You shot both T H E F I F T H E L E M E N T   R.W.: On WING COMMANDER there were               favourite?
and W I N G C O M M A N D E R with ARRIFLEX         very many camera moves. Sometimes, for           Thierry Arbogast: I very much like the
435 and 535 cameras – how did you find              example, the camera rotates on its own axis      films which Luc Besson directed, because he
them?                                               with the Scorpio-head. Doesn’t that later        is an extraordinary director who teaches me
Thierry Arbogast: To be honest, if I                cause a problem for animation?                   a lot technically. It is a great pleasure to work
have the choice between various camera              Thierry Arbogast: No, not necessarily.           with Luc. There is a film called LE BRASIER by
systems, I prefer the one with the better view-     On WING COMMANDER the special effects            director Rick Barbier which I also enjoyed a
finder. That seems to me to be the main trump       were much more easily adaptable than, for        lot, or HUSAR ON THE ROOF . But somehow
of an ARRI camera, as I like viewfinders on         example, on THE FIFTH ELEMENT . The techni-      it’s strange to say that a film is your favourite.
which the image seems very close. It is a           cal development of special effects moves         That is like deciding which child in the fam-
little bit as if with an ARRIFLEX you are sit-      very fast. With increasing experience people     ily is your favourite. I really like all the films
ting in the fifth row of a cinema and with          now have far less fear of many things.           I make, even the little productions, such as
other cameras at the back of the cinema.                                                             for example THE APARTMENT by Gilles Mi-
Some cameramen like that because then they          R.W.: In the jets’ cockpits you also left the    mony.
can assess the image globally and at the            glass panes in the set. Doesn’t that normally
same time keep an eye on the contours. But          create problems for post-production?             R.W.: Thank you very much for this inter-
that is rather a view of many operators.            Thierry Arbogast: Yes and no. If the             view! Thierry Arbogast’s next project will
When I work as an operator, I prefer to see         glass panes are kept, some of the set will       again be with Luc Besson, who after THE
the image close up.                                 also be reflected. That doesn’t affect the       FIFTH ELEMENT , LEON , NIKITA and THE BIG
Another point is that the viewfinder can be         Green Screen’s performance though. But if        BLUE will begin filming JOAN OF ARC this
pivoted to the other camera side. Sometimes         we take the glass away, we would have no         summer.
you end up in the corner of a room and are          reflections, and they make everything look
forced to use the viewfinder on the other side.     far more realistic.                              RW/JT

    The Ice Storm   THE ICE STORM , directed by Ang Lee, is a
                    thought provoking film about two upper
                    middle class families living a comfortable
                    life in suburban Connecticut, in the 1970’s.
                    Despite all the trappings of the “American
                    dream” and the happiness it’s supposed to
                    bring these characters, they lead empty,
                    shallow lives. A thread is woven depicting
                    the interpersonal relationships between
                    members of each family as well as indivi-
                    dual relationships between both families.
                    As Thanksgiving approaches the main
                    characters attend a party, but instead of
                    enjoying the warm glow of the holiday
                    spirit, we watch emotionally vacant people,
                    against a bleak backdrop, merely going
                    through the motions of happiness. The mov-
                    ie climaxes on Thanksgiving Day, when an
                    ice storm occurs and results in tragedy.

                    The wintry and stark appearance of the film
                    reflects the emptiness of the lives of the main

characters, the Hoods. Cold, hard surfaces
and glass reflections were used to enhance
the mood of the movie together with trans-
parent materials and shapes as a link to
the crystal world of the ice storm itself.

The above is a summary of a number of
published views of the complex essence of
the film.                                        I can give you a small example of how im-
                                                 portant it is to have that kind of relationship.
We had an opportunity to spend some time         On Christopher Reeve’s debut film, the TV
with Fred Elmes ASC, the highly regarded         movie, IN THE GLOAMING , I needed a spe-
Director of Photography of THE ICE STORM .       cial way to show Chris close-ups, over-the-
He kindly gave us some insights on how he        shoulder shots, and dolly moves, which he
was able to create an ice storm environ-         couldn’t observe because he couldn’t al-
ment and make early spring look like late        ways be next to the camera. CSC quickly
November.                                        built a ‘directors finder’ with a color camera
                                                 and transmitter thus allowing me to show all
“We began filming in April and May which         these sequences to Chris, who was watching
was particularly challenging because the         on a monitor in another room.
leaves on the trees had started to sprout.
This made creating the cold wintry look of       For IN THE GLOAMING I used nearly exclu-
November and the ice storm particularly          sively the new Variable Primes. I was able
difficult. To capture the ice storm and estab-   to zoom very gently and slowly into close
lish the winter scenes we went on location       ups, sometimes nearly imperceptible to the
in February. For several nights we sprayed       audience. The intercut between the Zeiss
the trees with water to create ice. In order     standard Primes and Variable Primes worked
to match the atmosphere and to enhance           seamlessly
the drama of the story we literally drained      .
the color out of everything. The subtle colors   For THE ICE STORM Camera Service Center
we created felt winter-like. Mark Friedberg,     provided us with a complete package includ-
our production designer, did an excellent        ing the ARRIFLEX 535, 535B and 435ES
job in achieving these effects.                  camera systems equipped with Zeiss Stan-
                                                 dard Lenses. The Zeiss Standard Primes are
But besides these technical problems we also     incredibly sharp lenses and very neutral in
had problems with the residents of New           color. They gave me the crisp cool, hard,
Canaan, Connecticut, where the movie takes       edgy look consistent throughout the film.
place. Some of the residents had read the        The results are on the screen. Camera Ser-
book and were upset about the drugs and          vice Center also supplied the complete
wife swapping aspects of the story. Fortuna-     lighting and generator package. I am current-
tely, we already had the film permit when        ly preping for my next feature and look
the local board tried to stop us. However,       forward to working with CSC again.“
shooting close to Manhattan was a positive
thing. We rented all our production gear         F. Wieser
from CSC (Camera Service Center) which
made me feel very confident since my rela-
tionship with CSC goes back a long time.
It’s important to have a good rapport with
your rental house and to be able to rely on
their support whenever you need them.                                                               Director Ang Lee and
                                                                                                    DoP Fred Elmes

                                          The Making of
          EXPO 2000 Jet
                                                                                   The EXPO 2000 Jet is a cinema equipped
                                                                                   with the most modern simulation technology
                                                                                   (realisation: MRC Simulatorentechnologie
                                                                                   Markus Lankes). A closed cabin is moved
                                                                                   synchronously to the film image – as in a
                                                                                   flight simulator. A perfect feeling of actual
                                                                                   flight is created as the spectator’s eye can
                                                                                   find no other fixed points. This unique mov-
                                                                                   ing cinema can accommodate 80 passen-
                                                                                   gers, making it the largest cinema of its kind
The Oceanis, the German deep sea research station, lies 100 m below the            in the world. It is the highlight of the Ger-
ocean’s surface. It can be reached in just 25 seconds by an underwater el-         man pavilion, conceived by the Stuttgart
                                                                                   agency Milla + Partner and realised together
evator. The EXPO 2000 Jet, a futuristic ultrasonic jet which flies under wa-
                                                                                   with the architects Lippsmaier + Partner.
ter, takes off from the Oceanis. Neither the Oceanis nor the EXPO 2000 Jet         The client, the Federal Minister for the Econ-
really exist yet. However they are the main element of the German Pavilion         omy wants to use it to attract a large inter-
at the EXPO 98 which takes place from 22 May to 30 September 1998 in               national crowd to the upcoming world event
                                                                                   in Hanover, EXPO 2000. The four-minute
Lisbon. By means of the most refined architectural and film tricks, visitors are   film which shows this fantastic journey was
given the illusion of actually being in the depths of the sea and of experienc-    produced by KUK Filmproduktion GmbH,
ing the EXPO 2000 Jet in a fantastic journey through space and time. The           Munich and directed by Josef Kluger. ARRI
                                                                                   Digital Film was given the task of carrying
excursion takes them from Lisbon 1998 to the World Expo in Hanover in the          out the complex digital post-production and
year 2000.                                                                         designing the computer animation.

                            Josef Kluger,
                            KUK Filmproduktion GmbH

The journey in the EXPO 2000 Jet begins            On top the entire image has to always be
with the detachment from the Oceanis’ deep         totally in focus from the foreground to infin-
sea station. While the jet glides over wrecks      ity to prevent the spectator from ever getting
and coral reefs it takes us on a voyage            the feeling that he is just sitting in front of a
through the exciting underwater world where        screen. DoP Matthias Neumann decided to
dolphins, submarines, research probes,             shoot in Super 35 for this reason and to
divers and a huge variety of fish greet us.        enlarge the image format from the negative.
The jet’s motor start to resonant and with a       Each of the three partial enlargements was
powerful force propels the Oceanis through         thus slightly smaller than a 16 mm negative.
the water’s surface. It flies over Lisbon,         “In order to prevent problems with grain
ascends to the clouds and begins ist jour-         and resolution with such a strong enlarge-          come back from shooting the latest James
ney through the time tunnel. When the time         ment, particularly exacting standards had           Bond film. For the shoot this housing was
travel ends the Oceanis lands on the vir-          to be placed on the film technology, film-          then mounted on an Aquazepp (Aquazepps
tual grounds of the EXPO 2000, greeted             stock and processing in post-production.            are controllable underwater torpedoes driv-
by a crowd of cheering onlookers.                  During tests the good old EXR 5248 proved           en by a strong electric motor). With this
                                                   itself to be the best filmstock, and for takes      ‘traction engine’, Sascha was able to reach
“The biggest challenge of this project was         where depth-of-field was critical VISION            the necessary speed for the diving shots
filming the single shots and then forming a        5274 was the limit“, explains Matthias              and still be close enough to the wreck and
whole so that the spectator would experi-          Neumann.                                            the coral reef. The requirement to simulate
ence a continuous flight in the finished film                                                          the jet taking off pushed the diving crew to
and not notice the transitions”, explains          In order to achieve the high quality standard,      the edge of the medically possible. Sascha
Josef Kluger, “90 % of the film is made up         the production used the best technical equip-       had to – pulled by the Aquazepp – swim
of five takes each lasting between 20 and          ment for every take and booked the most             up from 20 m depth in less than 20 seconds
60 seconds. We were on the go for almost           experienced teams of operators. For the             and break through the surface of the water.
two months, filming underwater in the Red          shoot in Egypt for example, underwater              This sort of quick surfacing action is extreme-
Sea in Egypt, the helicopter flight over Lisbon,   cameraman Sascha Mieke and his team                 ly dangerous for divers and can cause de-
visitors at the EXPO Plaza in Cape Town.           were hired. He flew in the Hydroflex under-         compression. To prevent that, Olaf Goetsch,
On each of these trips we filmed one or at         water housing from Miami which had just             a specialist in extreme diving, constantly
the most two shots – but they had to be ab-
solutely perfect!“

Particular demands were placed on image
quality because of the extremely wide for-
mat. Projection in the EXPO 2000 Jet is done
by three high resolution video beams. These
three projection fields (each 3:4) create an
overall frame ratio of 1:4, a non standard

                                                                                                and ended up somewhere in Canada. While
                                                                                                the team waited for case no. 12, they were
                                                                                                forced to sit around and watch the glorious
                                                                                                blue Lisbon sky turn dark. Lisbon was suf-
                                                                                                fering from the effects of El Niño during her
                                                                                                Autumn season.

                                                                                                A day later filming was finally possible it
                                                                                                was drizzling in the morning. The helicopter
                                                                                                and crew still took off and rehearsed the
                                                                                                flight. On the third flight, the sun poked
                                                                                                through the cloud cover for a few minutes
                                                                                                and the old town was lit up in soft warm
                                                                                                morning light. Two ferries were leaving the
                                                                                                dock, the Spacecam system worked perfect-
                                                                                                ly and the take was done! Even before the
                                                                                                helicopter returned to its starting position,
                                                                                                it started raining and kept doing so for the
                                                                                                next several days.
monitored the divers’ physical strain and to     As these requirements could not be met by
prevent possible physical damage used oxy-       any of the nosemounts stationed in Europe      During filming in other countries the com-
gen bottles filled with a nitric solution spe-   (and Super 35 together with a short focal      pany Magicon built a mock-up on a 1:30
cifically for this purpose.                      length proved to be a further problem), the    scale for all the shots of the underwater sta-
                                                 production decided to fly in the gyro-stabi-   tion Oceanis. “Realistically built mock-ups
The second unit team was off shooting dol-       lised Spacecam system from Los Angeles.        will continue to exist despite computer ani-
phins to add to the mock-up of the Oce-          The Spacecam crew had previously filmed        mation”, explains Joachim Grüninger, own-
anis. In a small fishing village they found      all the helicopter shots for TITANIC and so    er of the Munich company Magicon. “It is
a dolphin living freely which liked to be        was used to being in extreme situations just   important to skillfully combine the best of
close to the bay and had made friends with       above the water.                               both worlds. We work closely together with
a deaf-mute fisherman. The dolphin played                                                       the camera team. So the cameraman still
for the camera and shots were attained           Despite this, the shoot in Lisbon was endan-   has the opportunity to change nuances of
which never would have been possible in          gered of the 12 cases of Spacecam equip-       the patina or detailing up to the moment
an aquarium.                                     ment the most important one was incorrect-     when the camera starts running. He can
                                                 ly loaded during a stopover in New York        control the light come in more steeply or
After breaking the surface of the water the
Jet flies two meters over the Tejo towards
Lisbon, does a few tight loops over the hous-
es of the old town and then climbs steeply
into the sky. The camera had to be hung in
front of the helicopter in the direction of
flight, absolutely free of vibration, and be
able to be moved and controlled in all
three axes. In order to maintain the impres-
sion of speed the helicopter had to fly at
nearly maximum speed. Finally flying through
the clouds was further supported with a short

                                                  tat. “With a line-test, a complete match of
                                                  the real camera movement and the virtual
                                                  camera movement in computer animation
                                                  were able to be confirmed after a very short
                                                  tuning phase.“ Mitch Enzmann of Magic-
                                                  move explains this short tuning phase: “It
                                                  is amazing what you can do these days
more shallow, harder or softer, until he gets     with 3D tracking, but I doubt that with a
the exact degree of plasticity which he           diffused foggy underwater world we would
wants – the whole thing remains touchable         have received enough information for clean
and real.“                                        3D tracking. What’s pleasing about motion
                                                  control is, of course, that in a certain sense
The tracking shot itself was then done with       it always delivers this movement information.“
motion control, steering all movements and                                                         the lighting and colour atmosphere of every
lighting effects on the station via the motion    In the two-month post-production phase at        individual image plane until we had achie-
control computer, for example the closing of      ARRI Digital Film, submarines and sea probes     ved the desired realistic image impression“,
the tentacles on the docking station and          were designed in the computer animation          explains VFX-supervisor Jürgen Schopper
the journey in the elevator cabin in which        department and created with Alias/Wave-          of ARRI Digital Film. “The most important
visitors are brought to the underwater station.   front software. Animated fish, jellyfish, as     thing was however that the team was highly
                                                  well as plankton and floating particles were     motivated and worked very harmoniously
The use of motion control also enabled film-      also created on the computer. To achieve         together.“
ing at 6 frames per second. With relatively       the desired illusion, a realistic photograph-
little lighting, exposure at aperture 8 was       ic standard was necessary.                       Together with the simulation of the motion
possible, in order to attain the depth-of-field                                                    base, the film offers the spectator a com-
necessary for the mock-up shots even with         The individual elements were then integrated     pletely new cinematic experience which in
slow filmstock.                                   with the stored tracking shot scene, enabling    this form is unique and cannot be compared
                                                  ‘filming‘ from the same perspective as the       with normal simulation techniques – such as
To achieve a realistic underwater impression      Oceanis-mock-up in the real shoot.               Showscan. The moving experience will be
in the finished film, several motion control                                                       so real that one can only hope that nobody
versions of the same tracking shot were           “With Cineon you can fix the relation of the     in Lisbon will get seasick or be afraid of
filmed. In total fifteen different shots of the   over 700 working steps to each other. So         flying.
station, including “dry for wet“ in thick fog,    it was possible to vary the depth of the fog,
lights shot separately on the mock-up and         the impression of the station lighting and       KUK Filmproduktion/S. Cramer/JT
various lighting conditions, and masking
versions for the underwater landscape and
the research station.

“Motion control is imperative if you want
to show a flight or something similar with
more complex camera movements. You can
shoot different versions in different lighting
                                                     Excerpt from the teamlist - EXPO 2000 Jet
situations and then mix these single ‘passes‘        Client                         German Federal Minister for the Economy
in post-production so as to get exactly the          Concept and Realisation        Milla & Partner, Stuttgart
desired atmosphere. In addition four mask-           German Pavilion in Lisbon      Lippsmeier & Partner, Starnberg
ing versions were created, one for the sta-          Film Production                KUK Filmproduktion GmbH, Munich
tion and three more for different rock forma-        Director/Producer              Josef Kluger
tions“, explains Joachim Grüninger. The              Director of Photography        Matthias Neumann
company Magicmove, which he founded                  Executive Producer             Fred G. Eger
together with the advertising film director                                         Lucky Gorschlüter
Sebastian Cramer, was responsible for the            Underwater Team                Sascha Mieke
motion control shots.                                                               Max Bestle
                                                                                    Christian Troschke
“All moving data was given to ARRI Digital                                          Olaf Goetsch
Film for the computer animation“, remem-             Spacecam Operators             Jeremy Braben
bers motion control co-ordinator Jan Berno-                                         Andrew Sych
                                                     Set Design                     Benedikt Herford
                                                     Mock-ups                       Magicon
                                                     Motion Control                 Magicmove                                                 9
                                                     Past-Production                ARRI Digital Film
                                                     Visual Effects Supervisor      Jürgen Schopper
                                                                                                                                             Sebastian Cramer

KUK Filmproduktion GmbH                                                                                        Magicmove, the sister company of Magi-
                                                                                                               con, offers motion control filming systems
                                                                                                               and camera technology. Part of the compa-
KUK Filmproduktion GmbH was founded in 1992 by Josef Kluger and Roman Kuhn and since                           ny philosophy is to develop the technical
then has concentrated on the business area of corporate image and events coverage films.                       machinery and have it built. Sebastian
                                                                                                               Cramer, co-owner together with J. Grüninger,
“From the outset we have consistently produced only projects with which we could reach the high-               explains: “We have always put emphasis
est international production standards“, general manager and director Josef Kluger explains the                on keeping our technology as flexible as
company’s concept, “quality was always more important to us than quantity, and the client                      possible. Sometimes a cameraman wants
success as well as awards in competitions over the last years have confirmed our belief.“

So films were created which through their style and the formats used (Cinemascope, 70 mm,
super wide-screen format 1:4) constantly displayed a great visual experience beyond the
information presented. For example the presentation films of the new Mercedes V-Class,
the film PIANO with Herbie Hancock, produced as a company portrait for Vebacom, the
detective film DER AUFTRAG (THE CONTRACT ) for’s presentation at CeBit ’97.

A selection of the most important prizes and awards
Award                                                               Film title

BRONZE-Pyramid ITVA Festival 1996                                   PIANO  – a multi-media journey
German Wirtschaftsfilmpreis 1996                                    with Herbie Hancock
                                                                                                               to use more mock-up movers or he wants to
                                                                                                               mount the camera on a special carriage
GOLD-Pyramid ITVA Festival 1996                                     ACHTERBAHN DER GEFÜHLE
                                                                                                               etc. ... This would all be a lot more difficult if
AWARD OF MASTER Corporate Video 1997                                Short film about growing up
                                                                                                               we were to work with “ready-made“ sys-
                                                                                                               tems“ The whole motion control apparatus
Fifth Annual ITVA-International Video Festival
                                                                                                               was able to be transported for example by
                                                                                                               helicopter to a glacier, or a rolling axis was
AWARD OF MASTER Corporate Video 1997                                DER AUFTRAG
                                                                                                               developed in which the camera turns around
                                                                                                               a fixed 90° snorkel. At the request of cam-
AWARD OF MASTER Corporate Video 1995                                FIT FOR SUN , a music video on
                                                                                                               eraman Stefan von Borbely, the ARRI Shift
                                                                    protection from the sun
                                                                                                               & Tilt system was also motorised for an ad-
                                                                                                               vertising project and integrated into the
Award VERY GOOD                                                     SCHLÜSSEL-ERLEBNISSE
                                                                                                               motion control.
at the Industrial Film Forum Hanover 1993                           (IMPORTANT EXPERIENCES ) Short film

Magicon:                                                      and mechanical devices for films such as
                                                              catapults, hoists or water tanks, as well as
                                                              make-up effects or animatronics. Magicon
                                                                                                               Some other films are: NUR ÜBER MEINE
                                                                                                               LEICHE (OVER MY DEAD BODY) , JENSEITS DER
                                                                                                               STILLE (BEYOND SILENCE), NEVER ENDING
Magicon first worked on Roland Emmerich’s                     produced among other things the prosthet-        STORY II, THE HIGH CRUSADE and DIE APO-
European films, such as THE NOAH’S ARC                        ics and the structure of the werewolf for        THEKERIN (THE APOTHECARY).
and MOON 44 . Then more and more con-                         con’s latest project is together with Magic-
tracts from the advertising industry followed.                move the mock-up shots for 13TH FLOOR , a
The company led by Joachim Grüninger                          feature film to be produced by Centropolis
today offers mock-ups, creatures, puppets                     Streamline/Roland Emmerich.

                                                                                          Joachim Grüninger,
                               Walking with
                                                                                      John Howarth takes his 435
                                                                                      on a 220 million year trip

The ARRIFLEX 435 has been selected for           PARK and LOST WORLD but now dedicated
a number of major features recently – STAR       to science rather than drama. The many
WARS and THE FIFTH ELEMENT for instance          different species are all faithful reconstruc-
– but you wouldn’t normally expect to find       tions based on the ample paleontological
it on a BBC natural world shoot. In the more     evidence that exists. Two more vital mem-
than capable hands of John Howarth, how-         bers of the small but specialised crew are
ever, it’s currently in the middle of shooting   model-maker/puppeteers.
a ‘real-life‘ epic that promises to be one of
the most amazing outputs of the renowned         John Howarth and his assistant Peter Thorn        16 mm ARRI cameras on a number of TV
BBC Science Department. This natural his-        are constantly moving from the ‘real‘ world       dramas such as London’s Burning. Kavanagh
tory programme, filming the animals in their     to pure visual effects, but with a huge amount    and Jonathan Creek saw this as a natural
natural habitat on location, was with one        of blue-screen interaction between the two        addition to their rental fleet. Paul Carter of
major difference. In WALKING WITH DINO-          – a real dinosaur jaw is hydraulically manip-     Axis Films explained the past investment in
SAURS time-slips back some 22 million years.     ulated by human operators, with the rest of       the ARRI 24 volt system has finally paid
                                                 the animal subsequently computer-painted in.      dividends with all the camera accessories
ARRI News talked to John just before he set                                                        being interchangeable between 16 and
off on a journey of some five weeks – or         The camera and its capabilities are usually       35 mm.
millions of years. It’s his second trip to       more critical to a film of this kind. The ARRI-
New Zealand on the six part series, with         FLEX 435, John believes, is ideal for this        For WALKING WITH DINOSAURS , John is
Tasmania, New Caledonia, Australia, Cali-        task as well as being an exceptional all-         shooting wide-screen 16 x 9 format, super
fornia and Chile to come. The locations          round 35 mm camera. Typically, of course,         35 but with an open gate. He explained
have been carefully selected to represent        most filming for broadcast uses 16 mm. His        how this allows much more usable informa-
the primeval forests and savannahs where         previous good experiences with the 435            tion on the film for the later post-production
the dinosaurs roamed – a botanist is a key       led him to take the plunge recently and buy       work. He can shoot locked-off and zoom in
member of the party to identify the appro-       his own.                                          for looser movement on the central subject,
priate trees and plant life landscapes.                                                            adjusting within a wider framing that is
                                                 Realizing that this contract would run for        already there. “Even though so much is even-
But while modern New Zealand can stand           over a year, John decided to purchase a           tually going to be digital creation, you sim-
in for pre-ice-cap temperate Antarctica,         435 ES camera with IVS and approached             ply can’t do this if you start from tape.“ For
where will the unit find its dinosaurs? In       Axis Films – the camera rental company at         stock, he’s using Kodak’s new fast daylight
fact the programmes use an astonishing           Shepperton Studios, to explore the possibili-     5245 and 5246.
mix of computer generated images and ani-        ties of a joint venture into the world of
matronics – along the lines of JURASSIC          35 mm. Axis Films, who have provided              JW

                         Royal Escape –
  Chris Pinnock / Jack Cardiff
                                          The story starts here
Virtually every other item in ARRI               extremely warm about the value of the pro-       assistance to award schemes and student
                                                 duction and its cinematic potential              schemes. “Without new projects like this,
News refers to work either in pro-
                                                 .                                                there’ll be no business for us in the future –
duction or completed. ROYAL ESCAPE               The target is a year 2,000 release, with         and no new Jack Cardiffs either; so it’s en-
is rather different. We talked to                the rapidly rising interest in British history   lightened self-interest really.“
Chris Pinnock, whose project this                as we approach the millenium. Following
                                                 the pilot work, a screen treatment of the        Chris Pinnock really has two ‘hero‘ figures
romantic period drama is, when he                original idea is being developed by rising       in the film business. Jack Cardiff himself
had just 2min 50secs of pilot footage            writer Carol Allen, initial casting is being     who ‘amazingly combines huge lifetime
in the can.                                      explored and, above all, full funding is be-     experience with still enormous enthusiasm
                                                 ing sought.                                      and capacity for terrific innovation.‘ The
                                                                                                  other is David Lean whose LIFE IN FILM ,
It is, however, a project with a long history.   A Lottery request is on the table, serious       Chris believes is virtually a how-to-do-it blue-
Chris’s ambition to turn the concept into        discussions are being held with producers        print for filmaking.
reality goes back 20 years – while the ‘story‘   such as Peter Schnell, Christabel Aubrey of
itself dates back to 1651. In that year,         the London Film Commission is very encour-       His own career began in the cutting room
Charles II invaded Oliver Cromwell’s En-         aging. But as Chris admits, „actual filming      at Twickenham starting on classic Ken
gland but was defeated at the key Civil          will be the easy part.“                          Loach dramas POOR COW and KES . Regu-
War battle of Worcester. As its working                                                           lar progress came through the clapper/
title suggests, the story of ROYAL ESCAPE        The pilot is a significant step forward. Shot    loader, focus-puller, operator route.
only begins at this point.                       in the historic market square of Nantwich
                                                 the cast featured a Commander of the             So now with ROYAL ESCAPE coming into be-
Chris Pinnock explains. “The whole country       Sealed Knot Society reading the proclama-        ing and his own Bosco Bello production
was searching for the King; some to assist       tion of Charles’s ‘guilt‘. ARRI Media made       set-up, is he moving off the floor into the
him, most to deliver him up to the round-        a contribution to the shoot with two BL4         office? “No way. I’m strictly the cinemato-
heads – aided by a national proclamation         cameras. Jack Cardiff directed and Chris         grapher – that’s why we’re talking to real
of £1,000 reward, a small fortune then. So       himself was DoP.                                 producers.“
it’s actually a tight and tense dramatic sto-
ry, not a Hollywood swashbuckle, though          Graham Anderson, ARRI Media’s director           As a last word though, when ROYAL ESCAPE
there is a love-interest since Charles was       and general manager, made the point that         becomes the box-office hit of 2001, re-
a great womaniser. The events actually           the company has a long history of support-       member … you saw it first in ARRI News.
changed the course of history – if he had        ing new initiatives in the industry. It is a
been captured and executed like his father,      sponsor of the BCS Trust and regularly gives     GB/AC
there would have been no Restoration and
we might now be living in a republic.“

Bosco Bello Productions (the name comes
from one of the houses Charles sought refuge
in) is now very much up and running al-
though a key task is the completion of fund-
ing. An important on-board figure is the
legendary Oscar-winning director Jack
Cardiff, BSC. Chris has worked with him
for many years and in January he directed
the sample footage shot in Cheshire. He is

                  A European Co-Production
                                                                      The Ball
  Shooting on the feature film production, THE BALL , began near Brussels in
Autumn 1997. A classical story about true love, great adventures and magic.
          A story about children, homework, Italian biscuits and a living ball.

                                                digital post-production. After processing          THE BALLwas filmed on an ARRIFLEX 535
                                                the negative, the film was digitised and           from ARRI Intervision Cine Rent. The lab
                                                edited on AVID. At the same time a first           work was carried out at ARRI Contrast, Berlin.
                                                ‘rough‘ cut version with 3D animation was
                                                created, which was sent to the AVID via            The film will be finished by June 1998.
                                                the Internet. Parallel to the rough cut which
                                                was being constantly developed during              Stephan Kalesse
                                                shooting, the fine-tuning of the computer
                                                animation of the ball, or rather its activities,
                                                was successively carried out.

                                                The German co-producers from B&T Film
In over three years of development and          (Brändli & Teichmann GBR) in Berlin have
preparatory work, the producers of this         over 10 years experience in making chil-
feature film together with writer Jean-Claude   dren’s films. Working with children in front
Van Rijckeghem and director Dany Deprez,        of the camera and creating effective films
had set up a children’s feature film project    for this extremely demanding audience, is
costing about 5 million DM. It was in every     a unique and specialised area.
respect a creative and technical challenge.
For the 90-minute film approximately 10         Flemish Film Fund, Belgium, Film Fund of
minutes of 3D computer animation and            the French Community Belgium, Eurimages
comprehensive mechanical special effects        Strasbourg, BRTN Belgian Television, AVRO
were created. The main actors are children      Dutch Television, FilmNet Pay TV Benelux,
aged between 12 and 15. On the set they         COBO Fund Holland, Filmboard Berlin-
interact with their adult colleagues and        Brandenburg and others contributed finan-
with a ball which was created entirely in       cial resources to the film.

                                                                                                                                                         PICTURES PRESENT

                                                                                                    DER S IEG                                                  A FILM BY

                                                                                                                                                       ROBERT KRAUSE

                                                                                                                                                      PETER BONGARTZ
                                                                                                                                                      MICHAEL ENGELER

                                                                                                                                           A MANJA LUTZ MONIKA RAEBEL & ROBERT KRAUSE PRODUCTION
                                                                                                                    IN ASSOCIATION
                                                                                                                              WITH RUDOLF KIMMERLE MARTIN DESMYTTERE                     WITH ARRI AND ROMAN KUHN
                                                                                                                                                                               IN COOPERATION

                                                                                                DIRECTOR OF
                                                                                               PHOTOGRAPHY    RICHARD KRAUSE SET DESIGN RALF SCHRECK CHRISTIAN SCHÄFER HEINRICH BLANK JAN SIP SASCHA COVIC
                                                                                                               WARDROBE                           ß SOUND
                                                                                                                   ANJA STROHMEIER MUSICDESIGN BY HANS FRANEK EDITED RICHARD KRAUSE ROBERT KRAUSE PRECUT LYDIA MORIC
                                                                                                              SUPERVISOR                                          BY
                                                                                                                              SCREENPLAY                                                  DIRECTED
                                                                                                                                      BY ROBERT KRAUSE MANJA LUTZ & MONIKA RAEBEL               BY ROBERT KRAUSE

                                                                                             tion hall. The white walls were covered
                                                                                             with material to prevent flare. Only the
                                                                                             windows in the front were left uncovered,

     Der Sieg
                                                                                             to enable setting light through them and to
                                                                                             create a mystical atmosphere.“

                                                                                             DoP Richard Krause is a student at the HFF
                                                                                             Konrad Wolf in Babelsberg. He reports on
                                                                                             his work: “The story takes place on two
                                                                                             time planes – a transfigured plane in the
                                                                                             past and a normally depicted plane in the
                                                                                             present. These planes had to be well sepa-
                                                                                             rated from each other visually. Director
A young gymnast lives only for his sport and faces the competition of his                    Robert Krause and I came to the realisation
lifetime: the final exercise at the parallel bars could make him overall win-                that a memory, i.e. an excursion into the
                                                                                             past, is determined only by so-called magi-
ner. The title for which he has trained for so long, and for which he has giv-               cal moments. These are portrayed in very
en everything, is within reach. In the old, famous competition hall, a tense                 important moments in the plot. So we shot
atmosphere can be felt. The young, appealing athlete’s performance is bril-                  short sequences. But I moved the camera
                                                                                             more than in the present. To make the gym-
liant, but a new, far more difficult struggle, is to follow the unexpected end               nast’s movements seem softer, I sped up to
to his free section.                                                                         30 or 50 frames per second.

DER SIEG  (The Conquest) is one of the        Lutz and Monika Raebel of Catapult Film-       The exercise at the bars presented a particu-
projects of young film makers and film stu-   produktion made this short film in collabo-    lar challenge. This sequence had to leave
dents supported by ARRI. A selection of       ration with ARRI. DER SIEG was financed        the path of normal story-telling. We decid-
these sponsorship projects can be seen on     and produced entirely by them. “We placed      ed, for dramatic and technical reasons, to
18th of June in the ARRI cinema.              high demands on both the script and the        shoot these scenes in a specially built ‘Black-
                                              production. Basically, ARRI and other co-      box‘. I hung a 4kW or 1.2kW HMI PAR
Shooting of the short film DER SIEG with      financiers enabled the production of the       above the bars. I filled it with two bounced
Peter Bongartz and Michael Engeler, the       project“ the two young producers explain:      2kW tungsten fresnels. I didn’t need any
top Swiss athlete, was done in the ‘Reit-     “In the ‘Reithalle‘ in Munich we found the     more light. But for the gymnast it was a dif-
halle‘ in Munich. Both producers Manja        ideal setting. It was turned into a competi-   ferent story. It was very difficult for him to

get used to the darkness, as he had no ori-
entation. He was performing nearly blind,
but each time only short exercise steps. It
was our goal to set the gymnast in an opti-
cal weightlessness during the progression
of his exercise. To achieve this effect, the
camera had to turn on its own axis and
perform absurd movements. The only op-
tion was a remotehead, mounted on a
phoenix crane. With this equipment, ev-
erything was possible in terms of the cam-
era. The camera was often placed very
close to the gymnast so that the gymnast’s
feet whisked past very close to the lens.
The 12mm lens used further accentuated
the affect.

Our gymnast, Michael Engeler, turned in a
superhuman performer. And it was worth
it. A free section bar exercise was created
like you’ve never seen before.“

In post-production the look was further fine-
tuned. The aim was by means of various          and combining colour and black/white            Production: Catapult Filmproduktion
graduations and colour saturation to mirror     dubs. The tests were carried out by Blow        Executive Producers: Manja Lutz, Monika Raebel
the emotional conditions of the protagonist,    up Filmtechnik and in collaboration with        Director: Robert Krause
to make them “feelable“. Apart from that        ARRI processed to achieve the first release     Script: Robert Krause, Monika Raebel, Manja Lutz
the two time planes had to be visually sepa-    print. The result is well worth seeing and      DoP: Richard Krause
rated from each other. Various effects were     will be shown in the ARRI cinema on 18th        Editor: Richard Krause, Robert Krause
examined in test series: omitting the bleach    of June along with other similar productions.
bath in the dub negative phase, various
steep materials in an interim printing phase,   Monika Raebel

                                                                                                  The winners of the

                                     Stars and
                                                  Golden Frogs
                      200 km west of Warsaw the stars of the camera meet                             Kovacs (PAPER MOON ), Edward Klosin
                      once a year. What began five years ago as festival                             ( THREE COLOURS: WHITE ) and Victor J.
                                                                                                     Kemper (EYES OF LAURA MARS ) decided
                      director Marek Zydowicz’s initiative has today be-                             on the entries.
                      come one of the most important forums for cameramen:
                                                                                                     happy award-winners …
                      at Camerimage those people occupy centrestage who
                                                                                                     Apart from the main categories, many spe-
                      are normally behind the camera.                                                cial prizes were awarded at the Camerim-
                                                                                                     age. Vilmos Zsigmond this year received a
Marek Zydowicz had prepared everything            worth so much more since this is the first         lifetime achievement award. At the screen-
with élan and energy. With the help of            film for both cameraman and director Mike          ings, Zsigmond showed some of his greatest
many volunteer students and, of course,           van Diem. Filmed mostly in the studio,             successes, such as CLOSE ENCOUNTERS OF
sponsors such as Kodak and ARRI, this is          CHARACTER also represented the Nether-             THE THIRD KIND, HEAVEN’S GATE, THE RIV-
now the fifth year for Camerimage in To-          lands at this year’s Oscar-Ceremony – and          ER and STALIN . His favourite film, M C CABE
run. The success of the film festival (in 1997    won.                                               AND MRS. MILLER ,   was shown at the end.
3,500 guests attended the festival, and                                                              The introductions which Zsigmond gave to
55,000 spectators saw the films) is obvious       NIL BY MOUTH , a portrait of a London work-        his films were extremely interesting. For the
as is the enthusiasm of the ‘stars‘ – the cine-   ing-class family, by director Gary Oldman,         spectators these were special highlights,
matographers: “It is this enthusiasm, this        won the Silver Frog. Ron Fortunato shot the        causing the screenings to go on long after
inspiration of the young people, which            film on Super 16. NIL BY MOUTH won the             midnight.
makes me happy to come here“ confirms             student prize as well as the Silver Frog.
one of this year’s award-winners, Vilmos          Bronze went to FAMILY EVENTS , for which           A further attraction was certainly camera star
Zsigmond. The competition itself concen-          Pawel Edelmann was responsible for the             Vittorio Storaro. In 1994 he was awarded
trates entirely on the visual quality of the      photography. A film about a man’s memories         a Golden Frog for his lifetime’s work. At the
films presented. Neither the overall impres-      of his youth, directed by Leszek Wosiewicz.        5th Camerimage he won, together with
sion nor the success at the box-office is the                                                        Bernardo Bertolucci, a prize for the best
decisive factor, but only the cameraman’s         The award-winners were chosen by a top-            director/cinematographer duo. Represent-
work.                                             class jury: under the chairmanship of script-      ing Bertolucci, who was connected via In-
                                                  writer and director Agnieszka Holland, cin-        ternet from a London hospital, he accepted
Glowing winners …                                 ematographers such as Eduard Serra (JUDE ),        the “Special Prize for Film Direction with a
This year Rogier Stoffers won the Golden          Dick Pope (NAKED ), Jack N. Green (PERFECT         Special Visual Sensitivity“ for the Italian
Frog for CHARACTER . A success which is           WORLD ), Jerzy Zielinsky (POWDER ), Laszlo         director.

Bob Arnold, co-owner of ARRI, also re-              How it all started
ceived a special prize for his great contri-        “As a former lecturer for art history at Torun University,
bution to the development of camera tech-           I was one of the first to set up an exhibition of contempora-
nology. In the future, he will be able to           ry art after Poland rejected Socialism. I also included
add a Golden Frog to the many Academy-              Volker Schlöndorff’s HOMO FABER in the programme.
and other awards proudly displayed in his           The director convinced me to concentrate my ambitions
office. The evening before the presentation,        on film. That’s how Camerimage came about, as a festival
Bob Arnold invited guests, including actress        for visually exceptional films.
Sophie Marceau, Vilmos Zsigmond, Vittorio
Storaro and Pjotr and Witold Sobocinski,            The frog as a prize statuette refers to a popular fairy
to a dinner where they chatted about their          tale in Poland about a plague of frogs in Torun. The
work. “We have been a sponsor of the Cam-           city’s mayor first came to grips with the problem after
erimage for four years, an investment which         he pledged his daughter to a violinist who enticed the
bears many fruits“, said Arnold happily. “I         croaking plague out of the city.“
hope we will be able to further expand on
this collaboration.“                                Festival director Marek Zydowicz on the history of the
                                                    festival and the prizes.
satisfied students …
The enthusiasm of the participants was also
obvious in the seminars and workshops
which took place in the nearby clubrooms.
Vilmos Zsigmond held, among other things,
a seminar on “Cinematography for Television
Drama“, where he demonstrated the use of
the Variable Primes with an ARRIFLEX 535B.
During the seminar he shot two scenes with
the students. Also popular was a lecture by
Vittorio Storaro on colour in film. Of course,
these events were not only lectures – nu-
merous students took the opportunity to
pose detailed questions to their great role
models in order to learn tips and tricks from
the experienced professionals.

… and high goals
For the future, the very active festival director
plans a film school in Torun. It will special-
ise in the areas of acting, film training and
scriptwriting. ARRI has already signed up
as a sponsor, and several cameramen have
also offered their support. Oliver Stone,
Michael Ballhaus, Piotr Sobocinski and many
others want to teach there. Torun, already
a student town, would become even more
of an attraction for film students. For the
first time the work of the film students was
                                                                                              Above to below:
also recognised at this awards ceremony.
A whole day of the festival was filled with
                                                                           Robert Arnold during the ceremony
33 entries. The pre-selection had been
made by the film schools. The Golden Tad-                                          Meeting for dinner (l. to r.):
pole went to Marek Wieser for LIVER AND                                   Horst Bergmann, Vilmos Zsigmond,
POTATOES , Marek Gajczyk received the                                         Vittorio Storaro, Robert Arnold,
silver prize for A WAY FOR MORAVIA . Ger-                                Sophie Marceau, Marek Zydowicz,
many was represented and Saskia Kuipers                                           Stefan von Borbély behind,
                                                                                            Witold Sobocinski
from the dffb in Berlin received the bronze
prize for her film SUMMERS DAY.
                                                                           Vilmos Zsigmond, Horst Bergmann
                                                                           (ARRI) and Vittorio Storaro (l. to. r.)
Thomas Drechsel/MM
                                                                            Steadycam Workshop with Bruno

                                                                         Robert Arnold and Vilmos Zsigmond

                                                                     Martin Scorsese filmed the life of the Dalai Lama on Super 35, his preferred format. Kun-
                                                                     dun follows the story of the young Tenzin Gyatso, who is discovered as a two-year old
                                                                     child in a farming village and proclaimed 14th Dalai Lama, the spiritual and political
                                                                     leader of Tibet. When China’s Red Army occupies the country, the Dalai Lama is forced
                                                                     to leave his home.

                                                                     DoP Roger Deakins shot the 30 million dollar production on the ARRIFLEX 535B and 435.
                                                                     For his exceptional camera work, he was nominated for the coveted film prize at this year’s
                                                                     OSCAR awards. Cine Cameras in Rome provided the ARRIFLEX cameras for KUNDUN.

                                          Jack Nicholson at ARRI                                                                                               l. to r.
                                                                                                                                                     Jack Nicholson,
                                                                                                                                                       Jürgen Schau,
                     Jack Nicholson and Bob Arnold
                                                                                                                                                       Greg Kinnear
                     Columbia Tri-Star’s Jürgen Schau managed        Jack Nicholson won a Golden Globe for his
                     to pull off the super coup: Jack Nicholson      role in James L. Brook’s comedy, as well as
                     came to the ARRI cinema in Munich for the       the most coveted of awards, the OSCAR.
                     German premiere of AS GOOD AS IT GETS .         With his 11th nomination, Jack Nicholson
                     The two-time Oscar-winner hadn’t been to        heads the list of the most frequently nomi-
                     the film city on the Isar for 22 years. The     nated male actors. Only the legendary
                     Munich premiere audience was suitably           Katherine Hepburn is still ahead of him: she
                     enthusiastic and greeted the US-star with       received 12 OSCAR nominations.
                     deafening applause.

                     Congratulations to the new BSC’s Magnificent Seven
                     The latest wave of new members of the British       Productions credits include:
                     Society Of Cinematographers has just been           Henry Braham: LAND GIRLS, SHOOTING FISH, ROSEANNA’S GRAVE
                     announced: Henry Braham BSC, Oliver                 Oliver Curtis: LOVE AND DEATH ON LONG ISLAND, OUR BOY, THE WISDOM OF CROCODILES
                     Curtis BSC, Gavin Finney BSC, Daf Hobson            Gavin Finney: TOM’S MIDNIGHT GARDEN, FAMILY MONEY, WITNESS AGAINST HITLER
                     BSC, John Hooper BSC, Chris Howard BSC,             Daf Hobson: WELCOME TO SARAJEVO, THE LAKES, THE TENNANT OF WILDFELL HALL
                     Seamus McGarvey BSC.                                John Hooper: DALZIEL AND PASCOE, THE BEGGAR BRIDE, DANGEROUS LADY
                                                                         Chris Howard: BUGS, HEAT OF THE SUN, PEAK PRACTICE
                                                                         Seamus Mc Garvey: WAR ZONE, JUMP THE GUN, THE WINTER GUEST
                     The ARRI Group would like to extend their
                     congratulations to all the new members.
                     ARRI is delighted to see so many of our         the highest standards in the craft of motion        This years induction sees a refreshing injec-
                     friends receive their due recognition for       picture photography.                                tion of youth, with several of the new mem-
                     their talent and hard work. Membership of       • to further the application by others of           bers in their early 30’s. The ARRI Group is
                     the BSC is the ultimate accolade for a DoP      high standards in the craft of motion pic-          delighted to be associated with many of
                     from his peers, and indicates that they have    ture photography and to encourage origi-            these eminent cameramen, and are proud
                     reached the summit of their profession.         nal and outstanding work.                           to have serviced many of the projects that
                                                                     • to cooperate with all those whose aims            have led to this recognition.
                     The BSC was established in 1947 follow-         and interests are wholly or in part related
                     ing a suggestion by Bert Easey that feature     to those of the Society.                            GB/TR
                     production cameramen in the UK needed a         • to provide facilities for social intercourse
                     non-political guild or society to mirror the    between the members and arrange lectures,
                     ASC in America.                                 debates and meetings calculated to further
                                                                     the objectives of the Society.
                     The Society was established with the follow-    The seven new members, join the current
                     ing objectives:                                 total of 254 full, honorary, associate and
                     • to promote and encourage the pursuit of       patron members.

                                                                                                                      Seamus Mc Garvey, BSC

 Kodak Awards
                                                                                                 pany’s support. The film, in fact, also gained
                                                                                                 an Award placing for its cinematography.
                                                                                                 The main prize, won by Colin and the LIF
                                                                                                 group, was again thoroughly practical –
                                                                                                 £1,000 worth of Kodak stock – as well as
                                                                                                 a handsome trophy which the School will

 Commercials ‘Young Guns’

                                                                                                 At 27, Colin Teague already had some five
                                                                                                 years working experience as an actor in
                                                                                                 both films and the theatre before deciding
A heavy emphasis on real-world practicali-       cuts, and a lively, colourful club setting –    to take the big step of returning to ‘school‘
ty marks the latest of many areas of invest-     the right ambiance for both the product         to expand his career into film-making. Now
ment by companies like ARRI in the future        and the audience.                               in his second year at the London Interna-
of our industry. The Kodak Student Awards                                                        tional Film School, he commented that the
are for the hard-headed business of com-         In total, there was an impressive entry for     Award exercise was: “a wonderful practical
mercials and the entries have to meet a          the 1997 Awards with 1500 initial appli-        help as we approach graduation. It’s rec-
live brief, professionally prepared for real     cations that led to 57 completed films. Not     ognized in the industry so it gives us extra
products or services by the company’s ad         surprisingly, the resources required for that   credibility for the future.“
agency. The judging panel, too, was drawn        volume of film-making were considerable
entirely from industry professionals.            and the main sponsors, Kodak, provided          His enthusiasm for the practical concern
                                                 each entry with a roll of 400 ft of 16 mm       and help given by ARRI Media drew an
This year’s overall winner was producer          colour negative film.                           equally positive response by the company
Colin Teague and his team of fellow stu-                                                         who commented on the high level of pro-
dents from the London International Film         The winning team were supplied by ARRI          fessionalism shown by all the students in
School with a striking commercial for Max        Media and Colin Teague with his joint           their contacts.
Strongbow Cider. The commercial itself is        DoP’s Philipp Blaubach and Orit Tephey
styled like a pop promo, lots of tight, fast     were warm in their recognition of the com-      GB/DH

British Short Film
Grabs Oscar Nomination
Barney Reisz – producer from Feasible Films      team worked out of the kindness of their        rector ARRI Lighting Rental, “our past expe-
was ecstatic when his latest production IT’S     hearts and ARRI Lighting Rental provided        rience with his production talents gave us
GOOD TO TALK was nominated for best              the lighting and generators for the six-day     confidence to help out”.
live action short film amongst several other     shoot.
British Oscar nominees. His 13 minute                                                            “Getting the film made with help from com-
short film is a black comedy about the trials    Barney started his film career as a run-        panies like ARRI is only half the battle,”
and tribulations of a variety of people pla-     ner/tea-boy in 1977 and worked his way          says Barney ”the next hurdle is trying to get
gued by the breakdown of their life-line –       through the ranks of location manager,          it released in the cinemas. I really wish the
the telephone. The film stars Martin Clunes of   production manager to producer on the           cinema owners could find a way to support
MEN BEHAVING BADLY fame, Sean Hughes             recently released award-winning WOOD-           short films and let their audiences have a
and Steven Mackintosh and was directed by        LANDERS . Barney is developing the knack        chance to sample our work.”
Roger Goldby. Like any short film, getting       for recognizing a good project and run-
the finance together is often more of a chal-    ning with it.                                   Barney has an infectious personality and
lenge than shooting the production but Tim                                                       coupled with his growing experience with
Rice at The Foundation for Sports and the        He has collaborated with ARRI Lighting          successful films, this producer will be some-
Arts came up trumps and provided the nec-        Rental on several projects like BLUE-ICE        one to watch.
essary £15,000. The cast, Director of Pho-       and MURDER IN MIND . ”When Barney
tography, James Bloom, Gaffer, Andrew            came to us with his idea for IT’S GOOD TO       TM/JW
Bailey, the entire crew and post production      TALK ,” said Tommy Moran, Managing Di-

                          The ARRI                                         Varicon –
A Simple Tool For Flashing Film
     When I bought my Varicon in 1994, I did some initial LAD (Lab Aim            What is the ARRI Varicon?
     Density) tests. I went on to use it on a number of theatrical films and      The easiest way to think of the Varicon is to
     commercials. Recently, I wanted to revisit the Varicon and plot the          think of a piece of glass that glows in front
                                                                                  of the lens. If you haven’t seen the Varicon
     resulting characteristic curves of the film. I knew it worked. I liked the   in action, it’s very unusual in that the lens is
     results, but my curiosity of how it affected the film drove me on.           usually one of the darkest areas on the set.
     This article is the result of that journey.                                  But when the Varicon is turned on, the filters
                                                                                  in the matte box glow. I’ve put red, green,
                                                                                  CTB’s, CTS’s, sepias, and other colors into
                                                                                  the Varicon’s filter slot, and had actors com-
                                                                                  ment about something-unusual going on in
                                                                                  the camera lens. It’s true. The history of the
                                                                                  Varicon goes back to the Lightflex first used
                                                                                  on YOUNG WINSTON . Freddie Francis used
                                                                                  it on GLORY , and it’s been used on a multi-
                                                                                  tude of projects, including many of my own.

Some Background                                          demonstrates why a flash only affects the
                                                         toe of the negative’s characteristic curve. If
                                                         you look at the characteristic curves I plot-

on “Flashing” or                                         ted with the Varicon, you will note that they
                                                         fall fairly close to the hypothetical example
                                                         above. Also, I only plotted the toe of the

Pre-Exposing Film                                        curves, i.e., Base Fog to ‘Normal’. If you
                                                         looked at the densities from ‘Normal’ and
                                                         above, you would see there is very little di-
                                                         vergence from the LAD Reference densities.

Why would one want to flash film?                                           5274                  ARRI         ARRI             ARRI
                                                                            LAD                  Varicon      Varicon          Varicon
Among the reasons a cinematographer
                                                                          Reference              LC 1/2        LC 1             LC 2
flashes the negative is for contrast control.
In a daylight situation where s/he doesn’t              Base Fog               .57                .60             .62           .70
have the necessary equipment to light the               N-6                    .58                .60             .63           .71
deep shadows, flashing is an option. At
                                                        N-5                    .60                .61             .63           .72
the opposite extreme, in a night exterior
                                                        N-4                    .65                .69             .70           .78
where budget and time constraints limit the
                                                        N-3                    .79                .85             .87           .93
amount of lighting units available to illumi-
nate the shot, flashing may be a good op-               N-2                    .97                .98             .98          1.00
tion. Beyond that, there are creative choices           N-1                   1.14               1.15         1.15             1.17
a director of photography may employ. For               Normal                1.34               1.35         1.36             1.37
example, on EVITA Darius Khondji used the               N+1                   1.48               1.49         1.50             1.50
Varicon in combination with other filters in            N+2                   1.63               1.63         1.63             1.64
different parts of the film for artistic effect. I                                                                                                etc. The lab’s point of view is that they are
                                                        N+3                   1.80               1.80         1.81             1.82
spoke with Vilmos Zsigmond about flashing                                                                                                         in the business to develop negative and
                                                        N+4                   1.96               1.95         1.95             1.95
film, and he told me in the past that he used                                                                                                     make prints. The creative aspects of flash-
                                                        N+5                   2.07               2.08         2.08             2.08
the lab to post flash M C CABE & MRS. MILLER                                                                                                      ing film really lies outside the area of their
10 % to 25 %. He varied the amount de-                  N+6                   2.18               2.17         2.17             2.18               responsibility. Plus it’s a rather large incon-
pending upon the desired effect. Some of                Dmax                  2.44               2.44         2.44             2.44               venience for them to perform this service. If
the results from flashing the film are slight                                                                                                     the cinematographer wants to post flash the
desaturation, more information in the shad-                                                                                                       film, i.e., flash the film after exposure, the
ow detail, and in extreme uses, fogging,                 ARRI Varicon                                                                      1.40   lab still doesn’t want the liability of possibly
and tinting the film.                                                                                                                      1.30
                                                                                                                                                  scratching, or in some other way, damag-
                                                                                                                                                  ing the film.
What part of the characteristic
curve is affected, and why?                                                                                                                1.10
                                                                                                                                                  What is a 10% Flash?
Flashing only affects the toe of the curve.                                                                                                1.00
                                                                                                                                                  In the simplest terms, a 10 % Flash is actually
The reason for that is evident if one looks                                                                                                .90    added density of .1 over Dmin. If one looks
at the following table for a hypothetical                                                                                                  .80    at Dmin, and the density of 1 stop over Dmin,
flash of a negative film emulsion.                                                                                                         .70    or even 2 stops over Dmin, there is no corre-
                                                                                                                                                  lation to a 10 % Flash. A 10 % Flash on the
The top row indicates the stop above and                                                                                                          Reference column would equal:
below ‘Normal’. The second row indicates





                                                     Base Fog


the amount of exposure necessary to achieve                                                                                                       .56+.1=.66      N-4 =.68
the density at each stop. If N-6 needs one
foot candle (fc) of exposure, 2 fc would add                                                                                                      It’s a matter of convenience that has evolved
one stop more density for N-5. Two times 2               Why not let the lab flash the film?                                                      over time to call .1 over Dmin a 10% flash.
fc is 4 fc, for N-4, etc. The third row indi-            Most labs won’t flash film because of the                                                A 5 % flash should be .05 over Dmin, and a
cates the overall ‘flash’ necessary to achieve           liability involved. Pre-flash liability includes                                         15 % flash should be .15 over Dmin. Proba-
the N-6 density. The forth row is the cumu-              scratching the raw stock, inconsistent den-                                              bly what happened is someone noticed the
lative density of the flash added to each                sity, the raw stock picking up dust or dirt,                                             decimal point in front of the one and decided
stop’s density (for clarity it’s indicated as
foot candles). As you can see, the effect is
greater when there is less light, or density,
involved. The 1 fc necessary to achieve the
N-6 density immediately lifts N-6 to N-5.               N-6           N-5            N-4          N-3        N-2        N-1      Normal           N+1     N+2     N+3      N+4      N+5      N+6
N-5 is lifted half way to N-4 for 50 % added
                                                                1         2          4             8         16         32          64            128     256      512    1024      2048     4096
density. N-4 adds 20% density while N-3
                                                                1         1          1             1          1          1                 1        1        1       1        1         1        1
only adds about 11%. N-2 adds only about
                                                                2         3          5             9         17         33          65            129     257      513    1025      2049     4097
6 % density, and so on. I think this clearly

it “must mean” 10 %. This is another film           EI by one stop, from EI 200 to EI 400            1 stop less density while the toe is lifted
misnomer like MOS. Anyway, look at the              without push processing and increasing           with the Varicon. If a cinematographer ap-
charts to see the results.                          grain, is sometimes a tremendous advan-          proached a project with this in mind, the
                                                    tage. If one approached this issue from          results could be stunning with rich shadow
For this test I set the amount of light with        another point of view, s/he could retain         details while the highlights don’t block up.
the electronic meter ARRI provides with the         the 1 stop of film speed in the toe, while       It’s sounds like a technique to use with the
unit. In practice, I usually set the unit by eye.   decreasing the highlight density by 1 stop.      slow and contrast daylight stocks.
ARRI has further developed a method of              For example, if I lit a scene for EI 200,
setting the contrast with two small dark            I would keep the scene’s lighting contrast       Some thoughts about skip bleach
rectangular sections on the bottom frame of         within that range. But with the ND.3 in          process and negative flashing.
the Varicon. The Varicon isn’t gauged in            front of the Varicon, the negative’s expo-       One technique I haven’t had the opportunity
percentages, ARRI chose to use LC (Low              sure from the scene is EI 400, while the         to use is the skip bleach process on the
Contrast) numbers. The 5274 Reference               effect of the Varicon is calibrated at EI 200.   negative or one of the steps to the print, or
densities show the potential Dmin and a com-        With this approach, the high lights will have    the release print itself. I was talking with
parison of densities at each setting. If we
look at the Reference Dmin of .57 density,
an equivalent 10 % Flash would be .1 added
density to .57 (Dmin) for a Base Fog density
of .67. About LC 11/2 would equal a 10 %
Flash. LC 2 is .13 over Dmin for about a 13 %
Flash. The other aspect to note is the shape
of the characteristic curves. The Varicon
lifts the toe proportionately, grows in density
to N-3, and rejoins the reference curve at
about N-2. This bulge, or non-linear aspect,
is something I noticed when I did my initial
tests on the Varicon in February 1994. I
find this aspect of the tool most interesting
since I can change just a portion of the im-
aging characteristics of the negative. For
example, if I want to shift the mid-range
tones warm, I could use the complementa-
ry cool filter in the Varicon filter slot. Later,
I can ask the timer to time the shadows
‘neutral’ which will cause the mid-range to
shift. I recently did that on a show, and I
liked the results of specific density coloration.

Contrast Compression.
In the new information ARRI supplies with
the Varicon, they mention that cinemato-
graphers can compress the highlights by
using the Varicon in a particular manner.
ARRI supplies a N .3 filter to cut the expo-
sure 1 stop when the Varicon is set at a
minimum setting of LC2. I know from my
experience, I gained almost a stop of film
speed with the Varicon set between LC1
and LC2 – my normal setting. One of the
reasons I like the Varicon, is the increase
in film speed I can achieve. Increasing the

Mark Van Horn about this process after            these charts would be with the RGB lines of
viewing the skip bleach test he oversaw at        only two characteristic curves overlaid! On
Foto-Kem. I proposed the idea that if the         the note of color temperature and emulsion
original camera negative was flashed to lift      tracking, the Varicon tracked true at 3200°K.
the toe and increase shadow detail, the
contrast could be put back in a later stage.      It’s a wrap!
He agreed. In fact, he said on a couple of        I’ve owned and used the Varicon for a num-
the projects, the prints were flashed to de-      ber of years, and am always amazed when
crease contrast at that stage. There are          I come back to it after I haven’t used it for
many aspects I like about the skip bleach         awhile. A good friend of mine asked me,
process, but one thing I don’t like is the loss   “What are you doing with all this technolo-
of shadow detail. Flashing may provide a          gy?” He was referring to the trend of many
partial solution for that.                        cinematographers to use clean lenses, and
                                                  producer’s requests that we don’t manipu-
Varicon Testing Methodology.                      late the film since it’s going to go through
Since the light from the Varicon comes            so many processes in post-production. I
through the lens during exposure, I had to        thought a moment, and said, “I’m after the
consider the testing method. With the Varicon     vision, and I’ll use anything I need to achieve
I couldn’t change the lens’s T/stop since         it.” This is a tool that’s very versatile, and
that would directly affect the amount of light,   can be used in many different ways. As a
or flash, the film would receive. Consequent-     working cinematographer, I need all the
ly, I had to expose my gray card at a con-        tricks and tools I can master to lift the images
stant T/stop, but I could change the amount       above the ordinary.
of light, the camera speed, and the shutter
to achieve the desired T/stop.                    Mark Woods

Some notes about the
characteristic curve charts.
Dmin is the base fog of the film. If the film
isn’t fogged, this is the clearest, most trans-
parent part of the film. Obviously if the film
is flashed (i.e., fogged), the potential Dmin
remains constant, but now we have to
measure the new density results as Base
Fog, not Dmin. It is upon the Base Fog that
our images are built. If we start at a true
Dmin, there is a greater contrast range. If we
flash the film, we decrease the contrast
                                                         DoP Freddie Francis

On the charts, I don’t list Dmin separately
since I feel it would be confusing. Dmin hasn‘t
changed, but what I did to the film has           Freddie Francis BSC, ASC:
changed the Base Fog density. The 5274            “… I’m really surprised that more people           an everyday look. It does it by knocking
reference column indicates Dmin in the Base       don’t use the ARRI Varicon. As a DoP, one          the definition and reducing the contrast. I’ve
Fog row. The numbers to the right indicate        of my roles is to get the job done as quickly      worked on a lot of pictures and however
the resulting Base Fog from the Varicon.          as possible so if I can get away with using        big the budget is for a picture there is nev-
Finally, to keep things simple, I’ve only indi-   much less light then I’m saving time. Another      er enough money for the lights particularly
cated the green layer since we’re only talk-      factor is that today the modern lenses are far     when you are trying to light a large night
ing density and the shapes of the character-      too sharp for my liking and the Varicon            exterior. Using the Varicon you can give the
istic curves. You can imagine what a mess         helps me get a non-reality look rather than        illusion that the lighting goes on forever…“

     The Challenge of
                       Optical Design
        A Workshop at ARRI

        Cinematography is perhaps the most technical of the art forms. Filmmakers
        express their ideas through images captured on film. A critical element in
        this process is, of course, the lens. Every performance no matter how subtle,
        every action shot, no matter how complex, must ultimately travel through
        the lens to be recorded on film. The lens is therefore the most critical element
        in the filmmaking process.

                                                         partment for twelve years and is responsible
                                                         for the optics laboratory. One of his many
                                                         tasks is to help formulate specifications for
                                                         new lenses in collaboration with ZEISS and
                                                         ARRI. Data gathered from camera operators
                                                         from around the world must be translated
                                                         into technical terms, which enables the lens
                                                         to perform to calculable and verifiable di-
                                Christian Bürckstümmer   mensions. Some requirements are due to
                                                         the peculiarities of the moving image as
                                                         opposed to still photography, others come
                                                         from the combination of lens and camera
                                                         as an optical system.

        What makes a good lens? What does the            Working with ZEISS, Mr. Bürckstümmer
        future hold for lens design? These questions,    takes information gathered by ARRI through-
        and others, were the subjects of a detailed      out the world to make the camera operator’s
        workshop held recently at ARRI’s Studio 2        desires reality. The requests and ideas of
        in Munich. Sponsored jointly by ARRI and         the artists are transformed into concepts,
        the BVK, this workshop brought together          then designs, and finally finished products
        optical designers, engineers, cinematogra-       in glass and metal. Although this process
        phers and assistants to discuss current lens     has been speeded up with the advent of
        design and to look into the future of lens       computer assisted optical designs; it remains
        technology.                                      a long and arduous task.

        Experts from ZEISS were on hand, as well         What should a new lens offer? What techni-
        as Christian Bürckstümmer of ARRI, author        cal parameters must it meet? Let’s go through
        of the following report. Mr. Bürckstümmer        the process and see what is actually inv-
                                                                                                         PHOTOS: ALEXANDER WEISS

        has been in ARRI’s quality assessment de-        loved.

                                                  about 10 Lp/mm is very important. Only               duction in internal reflections are necessary

  Optical Design                                  when low spatial frequencies of about 10 Lp/
                                                  mm are reproduced with high contrast can
                                                                                                       and possible via the use of anti-reflex coat-
                                                                                                       ings on all element surfaces.
                                                  the resulting image appear brilliant. Further-
                                                  more, lenses for motion picture applications         Aperture induced Focus Shift
                                                  should possess high contrast, not only when          A further point, which the optical designer
MTF up to 40 Line Pairs                           stopped down, but also at maximum aper-              needs to take into consideration, is focus
It is a given that a precision lens should        ture. It is also important that this high con-       shift. This term describes a characteristic of
capture exactly the images which the cam-         trast be evident not only in the center of the       many lenses that displace the focus plane
era operator has in mind. It should create        image, but over the entire image area.               with changes in the diaphragm opening. In
on film a sharp image of the subject con-                                                              simple terms, this means that unless the lens
cerned. But what is the measurable quantity       In summary, a film lens with a resolving             is well corrected for this error the index on
by which image sharpness can be mean-             power of 150 Lp/mm will show no improve-             the focus scale is only totally correct at one
ingfully described? Is it only resolution? The    ment of the image. A good practical test is          aperture setting, or that a second index mark
ability to depict the finest possible detail?     to rely on what you see on film on the screen,       is required when the lens is stopped down.
                                                  not what you can see under the microscope.
For the most part, it depends on the particular   If you use a test projector to check your lens-      This means that the focus in the viewfinder
application of the lens. For a lens used in       es, don’t only examine the finest resolved           may not, under some circumstances, coin-
photo reconnaissance in an aircraft or satel-     detail but rather take a few steps back and          cide with focus at the film plane. What is
lite that may be a realistic requirement. Such    view the entire image, edge to edge.                 sharp to your eye in the viewfinder may
an optic must be able to reproduce the finest                                                          not be sharp on film. Unlike film, the cam-
possible details, even under great magnifi-       Stray Light                                          era’s viewfinder cannot register all the light
cation with the help of electronic image pro-     Of course, modern optics computers and               coming through the lens when the aperture
cessing. For cinematography, however, the         software can design a good optical system.           is wide open. Some of the light will be scat-
situation is somewhat different.                  But the designer must carefully consider the         tered on the ground glass, while some will
                                                  stray light rays of the optic bundle as they         go directly through it to reach the cinema-
For motion picture, applications the image        enter into and travel through the lens. Stray        tographer’s eye. Most of the time, the view-
created on the negative must go through a         light will cover the image like a veil and will      finder represents the lens as when it is
number of processing steps and prints be-         make high contrast images impossible. Each           stopped down to 2.8 or 4. If focus at the
fore the audience can see it in the theater.      lens element edge must be coated with a              maximum aperture does not match this set-
Each lab process detracts slightly from the       special black paint. Each surface in the in-         ting, the viewfinder can no longer be used
quality of the image.                             terior of the lens that could reflect stray light    for reliable focus. To combat this, ZEISS
                                                  must be coated as well. Lens diameters must
We examined this processing chain in              be optimized for performance with stray
ARRI’s lab and post facilities in Munich          light canceling elements included as an ini-
and established that the finest visible struc-    tial design consideration. The components
tures in a release print were about 40 Lp/mm      of the lens mount must also be made care-
(line pairs per millimeter). In optical terms,    fully reflection-free by using anti reflex ridges,
we refer to this as the spatial frequency.        matte black paint or flocking. The same, of
It is also about as much detail as the human      course, applies to the camera housing.
eye can resolve in an image projected onto
a typical theater screen.                         If lenses are used that cover a larger format
                                                  area than is necessary, you risk bringing a
Therefore, any higher resolution detail in        lot of stray light into the camera that ultimate-
the image captured on the negative will           ly degrades the image. This can be a prob-
not carry through to the final print. While       lem when lenses designed for the still for-
the human eye may not recognize detail            mat are used for motion picture applications.
above 40 Lp/mm on the theater screen, it
is important that the structures at 40 Lp/mm      Anti-Reflex Coating
be reproduced with high contrast. In techni-      Reflections can also contribute to decreasing
cal terms, the lens must have a high mod-         contrast on individual lens surfaces. A glass
ulation transfer function – MTF – up to           surface reflects approximately 5 % of the
40 Lp/mm.                                         light that strikes it. This reflection reduces
                                                  light transmission. With six elements, for
10 Lp/mm are sufficient with                      example, the effective transmission can be
moving objects                                    reduced by up to 55 %.
Unlike still photography, the cinematographer
works with relatively long exposures. An          Still more disturbing are multiple reflections
exposure time of 1/50 is common. Moving           inside the lens itself. These internal reflections
objects are therefore depicted with a notice-     can cause stray light to be directed toward
able unsharpness of movement. The high            the image plane. A significant increase in
contrast rendering of coarse structures at        transmission and an equally significant re-


                                                                                                                          Michael Koppetz (ARRI)

lenses for ARRIFLEX cameras are optimized
for a minimal difference in aperture related
focus shift and require only a single index

Color Match
All lenses must, of course, be color matched
together so that there is no shift in color
when changing lenses. The color character-
istics of lenses must be as neutral and uni-
form as possible. All ZEISS lenses comply
with German and international standards
that stipulate very tight tolerances for color           Michael Koppetz and
reproduction of photographic lenses.                     Christian Bürckstümmer

Close up Work
Motion picture and still lenses are usually
optimized for shots at greater distance, as        signer must, therefore, attempt to keep dif-
this is the most common application. At close      fraction as minimal as possible. It should be
range, errors such as image area curvature         noted that ZEISS lenses, even as wide as
and aperture aberrations tend to increase.         the 10 mm Distagon, diffract only minimally.
This decreases contour sharpness and the
                                                   Uniform High Speed                                 Dr. Zügge (ZEISS)
images have less contrast. It is imperative
that our lenses offer good image quality at        A set of lenses with a high uniform speed
infinity and that they are fully corrected for     is desirable. In still photography, it is not
close up work.                                     uncommon to find wide angle and telepho-
                                                   to lenses with a stop of 2.8 or less. These
Chromatic Correction                               lenses normally are calibrated only with
Due to dispersion, chromatic image errors          the f-stop, which describes a geometric ap-
occur. The term dispersion means the char-         erture ratio. This value is only partially suit-
acteristic of optical glasses to break light of    able as a standard for speed. Film lenses,
varying wavelengths in different ways. This is     on the other hand, utilize lens transmission
an additional chore for the optical designer       or T-stop as a standard for exposure.
who must correct these errors by selecting a
combination of various glasses to eliminate        All ZEISS lenses for ARRIFLEX cameras are
color fringes and other errors.                    high speed. The standard set has a maximum
                                                   aperture of T 2.1 and a range from 10 mm
Diffraction                                        to 135 mm. The Variable Primes, one of our
Due to diffraction, straight lines in the image    newer designs, have a maximum aperture
appear to be bent. Diffraction can be par-         of T 2.2 and a focal range from 16 mm to
ticularly annoying if, for example, the straight   105 mm. Finally, our Super Speed lenses
edges of buildings are depicted near the           have a maximum aperture of T 1.3 and fo-
outer edges of the film format. The lens de-       cal lengths ranging from 18 mm to 85 mm.

Optimization for the Format                      Flange Focal Distance
Of course, all of these requirements can only    A correctly adjusted flange focal distance
be optimized by an optics computer if the        is necessary to create the optimal focus on
lenses have been conceived for a particular      the film itself. The camera’s flange distance,
format either 16 mm or 35 mm. It is not          the distance from the lens mount to the film
possible, for example, for a photographic        plane can be easily measured with a sim-
lens originally designed for a much larger       ple gauge.
format to meet all these requirements. It
would be highly unlikely to find a diffraction   To set the lens flange focal distance is some-
free 10 mm lens with a maximum aperture          what different and more complicated. The
of 2 optimized for the Super 35 format in        reference is measured from the lens flange
the typical range of still photography lenses.   to the focus plane of the lens when the lens       It is important to be aware of the spectral
                                                 is in the infinity position.                       quality when measuring lenses. Light, as we
                                                                                                    all know, is made up of rays of varying
                                                 For simulation of an optical infinity object       wavelengths. Image quality and focal plane

  Mechanical                                     distance, a collimator lens is normally used.
                                                 In its focal plane is an illuminated test. The
                                                 collimator must completely and evenly light
                                                                                                    distance are clearly different for various
                                                                                                    wavelengths or spectral ranges. This requires
                                                                                                    a lens to be measured according to its prac-

  Design                                         the entrance to the pupil of the lens to be
                                                 measured or the measurement will be inac-
                                                                                                    tical application. The spectral quality of the
                                                                                                    measuring device must be similar to a col-
                                                 curate.                                            or film of mid spectral sensitivity. A green
                                                                                                    filter such as often found in collimators lim-
A good mechanical design must, of course,        The second step is the technical measure-          its the spectral range and lenses which are
be complemented by solid construction of         ment and analysis of the image displayed           aligned according to such a device cannot
the lens and precise manufacturing proce-        by the lens to be measured. This aerial            deliver optimal focus to the film under normal
dures. Only then will all the components         image has a certain depth, the depth of            white light conditions.
come together, which ultimately make a           focus. Various settings thus can deliver vary-
good lens.                                       ing image quality. It is necessary, therefore,     Compact Size and Durability
                                                 to determine the optimum possible image            Lenses should follow modern camera designs
Exact Focusing Scales                            quality in order to decide in which plane          and remain lightweight and compact. A
Particularly high standards are placed upon      it is best.                                        solid mechanical construction also guaran-
the focusing scales of motion picture lenses.                                                       tees that they will be able to withstand heavy
The focus scale must match exactly with the      This task is accomplished by measuring the         use. If the camera is on a tripod, the size
measuring tape. The viewfinder serves as         modulation transfer function (MTF). At ZEISS       and weight of the lens is of a lesser concern.
an additional focus control. All three ele-      and ARRI from the first design of the lens         Once the camera is in a hand held mode,
ments, the focus scale, the measuring tape       through the quality control and manufactur-        every ounce counts. The lens must be of a
and the eye focus through the viewfinder,        ing process, to alignment of the flange focal      suitable size, however, for optimum optical
must match precisely. Motion picture lens-       distance, an unified criterion is used for eval-   design as well as ease of operation. Overly
es, as opposed to still lenses, take into ac-    uating image quality – the MTF. MTF virtual-       compressed focus scales makes the assis-
count the small variations in tolerance that     ly eliminates human interpretation errors and      tant’s job difficult. A compromise must be
occurs in manufacture. All ZEISS/ARRIFLEX        is recognized today as the worldwide stan-         struck between size, performance and ease
lenses are calibrated individually and           dard for measuring and evaluating lenses           of use. It is not logical to disregard size and
equipped with a matching focusing scale.         for their image quality.                           weight completely when designing lenses


                                                                                                follow focus units and lens control devices.
                                                                                                All ZEISS-ARRIFLEX lenses in a set have
                                                                                                unified diameters for the operating rings. The
                                                                                                front diameter of these lenses, with the ex-
                                                                                                ception of very wide angle lenses, are also
                                                                                                uniform to eliminate the need for additional
                                                                                                lens bellows rings on the matte box.

                                                                                                Sound Proofing
                                                                                                Synch/sound cameras operate silently. Lens-
                                                                                                es, therefore, need to be designed to mini-
                                                                                                mize sound transmission. ZEISS-ARRI lens-
                                                                                                es are equipped with special noise isolation
                                                                                                materials to prevent sound transmission
                                                                                                through the lens.

                                                                                                Quality Control
                                                                                                To insure that all lenses meet our exacting
                                                                                                standards, they are all checked at ARRI
                                                                                                one by one. Lenses are inspected visually
because, on the camera side, we literally                                                       for cleanliness as a first step. Image quality
fight for every ounce of weight. The fixed                                                      and flange focal distances are then checked
focal length lenses form ZEISS for ARRI                                                         on MTF measuring devices. Next the lenses
cameras are compact and lightweight, while                                                      are tested on a lens projector and checked
delivering outstanding imaging parameters.                                                      for even image performance. At the same
                                                                                                time, the precision of the focus scale is tested.
High Mechanical Precision,                                                                      All lenses are then tested for mechanical
Minimal Play                                                                                    ease of operation of focus, zoom and iris
It is very important that all mechanical com-                                                   rings. Finally, an aperture measurement de-
ponents of a motion picture lens exhibit                                                        vice re-checks the aperture scale.
minimal play. One must be able to set focus
precisely without any backlash. When focus                                                      Through this rigorous quality check we in-
direction is changed, there can be no im-                                                       sure that only lenses which will satisfy our
age jump. Many still photo lenses have this     Torque, Temperature Range                       industry’s high demands leave our premises.
image jump, particularly lenses on auto focus   All operational functions of the lens from
cameras. These lenses are specifically opti-    focus setting, adjustment of focal length,      Christian Bürckstümmer
mized for low torque and consequently,          and iris setting must move smoothly and free-
cannot meet the demands placed on motion        ly without binding. Lubricants must be cho-
picture lenses.                                 sen accordingly so that torque on the focus-
                                                ing ring does not go beyond the specified
Minimal Aperture Overlap                        values within a temperature range of -20°C
Cams for the iris leaves must also be made      to +60°C.
to an exacting standard. We take particu-
lar care that the lenses have no aperture       Uniform Diameters
overlap. This guarantees that you get the       All the operating interface surfaces on the
same aperture setting each time you set the     lens must be as uniform as possible. Geared
lens, regardless if you are opening or clos-    focus and iris rings must be the same from
ing the aperture.                               lens to lens to insure easy integration with

   at TCP, Paris
“The new integrated video system IVS and           registrations were received. 50 each cam-
the Variable Primes lenses naturally met with      eramen/women and assistants, split into
particular interest“, reports Yves Clanet, sales   four groups, took part in the individual
manager for TECHNI CINE PHOT. “But in              training sessions. Günther Zöh and Heide-
general the workshops were so popular that         Evi Jacob from ARRI Munich joined the
we will organise further events. More people       French team of Yves Clanet, Bernard Thuault
registered their interest on the strength of       and Dominique Faucher with technical pre-     workshop offered participants practical ac-
our invitations than we were able to accom-        sentations.                                   cess to the technology and showed them
modate in our seminars.“                                                                         various possibilities for using it. At the end
                                                   At the end of the workshop participants       of the workshop attendees were unanimous
At the camera workshop which took place            and organisers were extremely satisfied.      in their desire for more frequently held semi-
at the end of January, TCP demonstrated            Yves Clanet: “For the cameramen and assis-    nars. TECHNI CINE PHOT will offer fur-
the ARRIFLEX 535B, 435 and 16SR3 on                tants it’s a one-time opportunity to become   ther events from September 1998 onwards.
their premises. To guarantee a high level at       intimately acquainted with the cameras in
the workshop, TCP limited the number of            a quiet setting. And we can demonstrate       TCP
participants and set a further date for a          the ARRIFLEX cameras and the associated
second workshop in April. In total over 100        technical and creative possibilities.“ The

   Cine Equipment,
Normally found in front of the camera an-
swering questions, Datuk Leo Moggie – the
Malaysian Minister for Energy, Telecommu-
nications and Postal Services wanted to
change sides. At the Asia Cable Satellite
Broadcast Exhibition on the Cine Equipment’s
stand, ARRI’s representative in Singapore,                                                          Datuk Leo Moggie (right),
he watched the happenings at the exhibition                                                         Mak Wenig Kit by Miller Freeman (left)
through a 435 viewfinder.

170 exhibitors from 20 countries presented
their latest developments in communications
technology at the first Asia Cable Satellite
Broadcast Exhibition.

     Single Frame
           for the ARRIFLEX 435

The newly developed single frame switch-                     Integrated Capping Shutter:
ing device for the ARRIFLEX 435 now of-                      On reflex cameras the mirror shutter usually
fers a comfortable control for exposing sin-                 is not sufficient for lengthy breaks between
gle frames. With the new single frame hand                   two frames – the shutter is simply not light-
control unit a multitude of parameters can                   proof enough. Therefore, for single frame
be pre-programmed. Access to all individual                  shots, normally an extra capping shutter is
frame functions is possible via an RS 232                    attached in front of the lens and is opened
interface.                                                   only for the time of the single frame. This,
                                                             however, has the disadvantage that the
Also developed recently is the Integrated                    image cannot be viewed through the view-
Capping Shutter which considerably simpli-                   finder as long as the capping shutter is
fies work compared to the other capping                      closed. To avoid this, ARRI has now devel-
shutters currently in use.                                   oped a newly patented capping shutter.

Single Frame Hand Control:                                   The main feature of the new Integrated
With the robust hand control unit, the fol-                  Capping Shutter is a shutter which is attached
lowing functions can easily be controlled                    behind the mirror reflex shutter, thereby
and set:                                                     preventing light from falling on the film. With   A further advantage is that the area in front
                                                             this principle, it is always possible to look     of the lens, for example for filters or a matte-
Exposure time from 1/8 s to 999 s with a camera shutter
angle of 180°. With a camera shutter angle of 11.2°          through the viewfinder. With the ARRI Inte-       box, remains free. This new solution displays
the shortest exposure time is 1/128 s                        grated Capping Shutter the time between           compactness and a considerably quicker
Intervallometer operation with intervals of 1s to 99 hours   exposures has been extended with respect          reaction time compared to normal capping
and 59 min.                                                  to the light-tightness of the shutter assembly    shutters.
Repeat counter (burst) from 1 to 99                          to approx. 1 hour.
Fully automatic control of the ARRI Integrated Capping
Signal output to activate an external Capping Shutter
Trigger input
Automatic signal to switch on light sources in
intervallometer operation
Signal output to activate a flash
Input to the socket for an external light meter to match
exposure time to the current lighting conditions
Available approx. October ‘98

    New Accessories
                           for the Lens Control System
The Controlled Lens Motor 2                     lens, and a normal and a large gearwheel
(CLM-2):                                        in module 0.5 for video lenses. The iris
The well-known features of the CLM-1 were,      module on the CLM-1 and the pinions for
for the most part, kept but the external con-   the ARRIFLEX 765 also fit onto the CLM-2.
tours and weight have been considerably
reduced. Due to the new construction, the       The Universal Motor Controller
CLM-2 is now better suited for shoots where     (UMC-1):
weight or dimensions are important, such        The UMC-1 is designed for attaching three
as in a Steadicam operation.                    CLM-2 motors and can be controlled both
                                                by cable and with the radio-LCS, which is
The CLM-2 is designed for the 19 mm sup-        currently designed. The new unit was con-
                                                                                                Technical Data
port rods, where it can quickly be attached     ceived especially for controlling CLM-2 mo-
with the existing tilt/clamp device. For        tors, but it is also compatible with existing   Working temperature range -20° - +50°
15 mm diameter rods there are two adapter       LCS-components such as the CLM-1, ZMU-1                                   (-4° F to +122° F)

pans available. For difficult-access lenses     and FIU-1. When used with CLM-1 motors,         Power supply               24 V DC
                                                                                                                           12 V DC (with reduced
there is also a console with adapter rods       the UMC-1 takes over the functions of the                                  speed)
which fits onto both 15 and 19mm support        LC-S1 power module regardless of whether
rods.                                           the motors are powered by the camera or a
                                                                                                Max. torque                0.65 Nm
                                                separate battery.
The maximum regulating speed of the CLM-1                                                       Regulating speed           1 U/s at 0.25 Nm, 24 V,
                                                                                                                           standard gearwheel
motors was maintained, the maximum              The camera functions are activated via the
                                                                                                Working range              8 revolutions (gearwheel)
torque, however, was slightly reduced. In       CCU-socket (RS-232 interface). In this case,
                                                                                                Noise level                < 22.5 dB(A) at 0.5 U/s
an operation of up to 3 CLM-2s it would         the connection to the RCU-1, CCU or LCC
be necessary to use a UMC-1 instead of          is carried out by radio with full functioning   Positioning exactitude     < 0.5° (max. half line
                                                                                                                           strength on the lens)
the LC-S1. Additional accessories available     range available as with cable operation. If
                                                                                                Cable length               max. 2 m (6.5 ft) between
are the larger gear (65 Z, module 0.8) for      only the RUN/STOP function is needed,
                                                                                                                           motor and UMC
higher speeds or greater distances to the       attachment of the UMC-1 to the RS-socket
                                                                                                Weight                     CLM-2: approx. 0.28 kg
                                                is sufficient. For older cameras it should be                              (0.6 lbs.)
                                                attached to the 11-pin accessory socket.
                                                                                                Accessories CLM-2          Console: approx. 0.07 kg
                                                                                                                           (0.15 lbs.)
                                                Radio operation is uncomplicated. The                                      Gearwheel Z65/m 0.8;
                                                                                                                           Z80/m 0.5; Z104/m 0.5;
                                                UMC-1 enables remote control of all three                                  Pinions for ARRIFLEX 765
                                                adjustment axes separately, allowing each                                  Iris drive
                                                function to be guided by a separate remote      UMC-1
                                                control unit. Of course focus, iris and zoom
                                                                                                Dimensions                 118 x 69 x 37 mm
                                                as previously, can be combined in one re-
                                                                                                                           (4.6“ x 2.7“ x 1.4“)
                                                mote control unit.
                                                                                                Weight                     UMC: approx. 0.28 kg
                                                                                                                           (0.62 lbs.)
                                                                                                Sockets                    3 x CLM-2
                                                                                                                           1x RS
                                                                                                                           1x LCS-bus
                                                                                                                           1x CCU
                                                                                                Accessories:               Zoom unit ZMU-1:
                                                                                                                           approx. 0.4 kg (0.9 lbs.)
                                                                                                                           Focus/Iris control unit
                                                                                                                           FIU-1: approx. 0.4 kg
                                                                                                                           (0.9 lbs.)
                                                                                                                           Memory module MEM-1
                                                                                                                           Iris control unit ICU-1
                                                                                                                           Pivoting pole holder
                                                                                                                           Cable reel

     Alex Scott                                     ’Computerised’ lighting gaffer

These days, when Alex Scott goes                    “Looking back to the cameramen I worked           Rental, Lee and AFM all have excellent ser-
on location, he takes his lap-top                   with at Bristol, it really is a modern hall of    vice standards and are constantly develop-
                                                    fame. Andrew Dunn, John Daley, Ashley             ing new ideas. On THE MAN WHO KNEW
computer, portable printer and a                    Rowe, Remi Adefarasin, Philip Bonham              TOO LITTLE I used remote controlled lamps
modem. So, with his lighting list on                Carter and lots more of that calibre. It was      on cherrypickers for the first time. You get
the PC, if he wants to change any-                  a great place at a great time and I learnt        total control, of even big lamps, 200 ft up,
                                                    vast amounts from all sorts of people.“           while you’re safe on the ground. Our Ameri-
thing he can print and fax it, or in-                                                                 can producers were hugely impressed.“
creasingly e-mail whichever lighting                “Already the BBC scene was starting to
company he’s working with. He’s                     change, with co-productions and my being          “I think the most important element of a gaf-
                                                    allowed time off to work with independents.       fer’s task is the organisation. Everything’s
just got himself a digital scanner so               My first was with Andrew Dunn after he’d          so huge and complex these days and time
he can send rough drawings of how                   gone freelance; it seemed hard going out-         is so costly; you have to plan carefully and
he wants something made via the                     side the nest but fun too, and again you met      get it right first time. I get more and more
                                                    new people and learnt more. Really talented       involved in even pre-recce discussion al-
Internet. Having ‘joined‘ the Web                   guys like Oliver Stapleton and Dennis             though that also means you’re more out on
he was also surprised to find his                   Crossan. I still remember my first co-produc-     a limb; get it right and you’re a hero, get it
own details on a film technician da-                tion with Dennis. It was called BLUE ICE –        wrong and… well, goodnight.“
                                                    serviced by the then Bell Lighting, now
tabank.                                             known as ARRI Lighting Rental – with lots         Clearly Alex Scott mostly gets it right. Nail-
                                                    of high building interiors lit from outside.      ing him down for this article was constantly
This is a far cry from his start as an ap-          We used twenty-seven cherry-pickers when          threatened by work demands. After a long
prentice to a Belfast firm of domestic elec-        the most I’d ever seen together had been          stint in France on CINDERELLA with Andrew
tricians. In those early 70‘s, there was liter-     three or four.“                                   Dunn last year, he’s currently shooting CIDER
ally no film lighting company in Northern                                                             W I T H R O S I E with cinematographer Rex
Ireland. When BBC Belfast needed local              “In their wisdom, the Beeb (BBC) then went        Maidment. And two days after that wraps
support they called Alex’s boss who sent            the further step of disbanding the unit, so       he’s off to Rome for three months on A
him off in a van complete with a load of            suddenly I was a freelance. I was terrified       MIDSUMMER NIGHT‘S DREAM with Oliver
100 watt bulbs – he was then somewhat               for a few weeks but in fact it was a huge         Stapleton as DoP. “Another new challenge“
thrown by the first request to ‘get out the         favour. The very first job as a freelance was     he says, „we’re using the Key Grip system
redhead‘.                                           again with Andrew Dunn on a coal-mining           and I’ve got a really good Italian Key Grip
                                                    documentary called I N T H E D A R K . The plan   and Gaffer.“
The experience persuaded him that this was          was a couple of days at the coal face to
the life and he joined the BBC Belfast OB           get establishing shots but it looked so good      “The best thing is, I really love going to
unit. In turn, they loaned him to the film          the director decided to shoot all two weeks       work each day. It’s actually a privilege to
unit and his love affair with filming began.        underground.“                                     go and have fun working in places like Italy
                                                                                                      and the gorgeous French chateau where
“I spent a few years on everything from             “It was an amazing experience, working            we made CINDERELLA in. I enjoy the big
schools programmes and News to drama.               just behind the huge machine tunneling for-       features but I still want to keep my feet on
Then I crossed the water to BBC Bristol in          ward and hearing the solid earth creaking         the ground with commercials and TV. It’s a
1985. Immediately I was off on a 27 week            and moving around you. Because of safety          great people business; as well as DoP’s,
drama shoot in Scotland, Derbyshire and             regulations, ordinary lighting was impossi-       over the years I’ve worked with some won-
London. I had a great time working with             ble so I had to construct a kind of mini-Dino     derful crews and best boys – Andy Long,
the cameraman Elmer Cossey from BBC                 from miners’ lamps. The effect was terrific       Fred Brown from Lee, Steve Davis. When
Ealing and started to get to know mainland          but I felt sorry for the miner who carried the    I’m building a crew, I deliberately go for a
lighting companies.“                                battery around – the leads were only 3ft          mix of experience – as back-up – and the
                                                    long.“                                            young and enthusiastic for ideas and the
                                                                                                      way they lift morale.“
                                                    “One benefit of beeing freelance is having
                                                    the freedom of choice in who I work with –        Somehow it’s hard to imagine Alex need-
                                                    both on the production side and with light-       ing help in that area.
                                                    ing companies. I like to vary according to
                                                    the job as you steadily increase your expe-       GB/NS
                                                    rience that way. People like ARRI Lighting

                                              Alex Scott

ARRI Lighting and the ASC
In January 1998, the American Society of          During the formal presentation, ARRI Lighting
Cinematographers invited a selected group         showcased the Pocket Par System. Lighting
of lighting manufacturers to introduce their      Manager, John Gresch, presented the prod-
latest lighting products. This general meeting,   ucts while the ARRIFLEX staff showed each
held at their Hollywood clubhouse, marked         version in a hand held, battery assisted, por-
only the second time within the past three        table mode. The Pocket Par Light Pipe, Pocket
years that the ASC presented lighting fixtures.   Par Projector and Flex Light System drew
ARRI Lighting was invited back for the second     audible excitement from the group. Also
year to display their latest in lighting equip-   presented were the ARRI X 40/25 HMI and
ment. The goal of the evening, according to       the T12/T24.
chairman Robert Primes ASC, was to show-
case new, unique and exciting lighting re-        Many members stayed after the presentation
sources to available members in a relaxed,        to discuss applications and offered valuable
noncompetitive forum.                             product input. Others enthusiasm spilled over
                                                  into the next day when they called with ad-
The topic drew a capacity crowd. Among            ditional ideas for using ARRI products on
those in attendance were John Toll ASC,           upcoming projects.
Russell Carpenter ASC, Don Burgess ASC,
John Bailey ASC, Jack Green ASC and               J. Gresch / F. Wieser
Stephen Burum ASC. After dinner and in-
formal perusal of displayed products, newly
elected President Woody Omens ASC, wel-
comed members and introduced invited

                                                  Expo Opening in
                                                                     It’s the Bavarian capital’s largest project since the Olympic
                                                                     Games in 1972 – the new Munich Expo grounds. ARRI Light-
                                                                     ing Rental, Munich provided the lighting equipment for the
                                                                     functions hall for the opening celebrations in mid February.
                                                                     Luminaires with a total output of 2.4 Megawatt were installed
                                                                     and ensured the right light for the opening ceremony and for
                                                                     the evening gala.

                                                  flexible. Both grandstands for the evening      trance podium. The crossbeams were co-
                                                  ball were covered with a curtain and a          loured with Medium Blue (LEE 132). We left
                                                  10 x14 m large canvas screen during the         the central area between stage 1 and stage
                                                  morning’s opening ceremony. During the cer-     2 blank. Because of the differing functions,
                                                  emony a video projection onto this screen       particular flexibility was needed there. We
                                                  provided a look at the latest history of the    coloured the crossbeams with Robocolors
                                                  expo grounds – from the last jet’s take-off,    Pro 400 and erected 4 further platforms
                                                  through the laying of the foundation stone      for follow spots and dimmers.”
At the former Munich airport in Riem, where       and the building celebrations up to the open-
the jets used to take off, 14 expo halls with     ing day.                                        In addition to 1500 m of aluminium cross-
over 140,000 m2 of exhibition space were                                                          beams, ARRI provided a total of 200 kW
planned and built in the record time of just                                                      daylight lighting and 700 kW tungsten light-
54 months. An area was created with an                                                            ing. “There were tough demands put on the
imposing landscape of halls. It counts as one                                                     equipment“ the head of the ARRI rental park,
                                                                             Martin Werhahn
of the most modern expo centres in Europe.                                                        Hubertus von Hohenzollern, reports. “The
                                                                                                  luminaires had extremely long running
On opening day, two functions were held,                                   Martin Werhahn,        times – in some cases 24 hours a day – and
visited by over 8,000 guests: the opening                                  TLD’s lighting de-     for a whole week.”
ceremony in the morning, and the interna-                                  signer responsi-
tional expo organisation’s ball in the evening.                            ble for the project:   The lighting design itself emphasised func-
German Federal President Prof. Dr. Roman          “The organisers wanted to separate the          tionality and the given structure of the hall
Herzog hosted both events.                        entrance area completely from the cere-         surfaces – grandstands, seating areas and
                                                  monial area. So we created a crossbeam          action surfaces. A decisive element was the
Both functions took place in the same hall, so    design which emphasises the depth of the        festive “white” atmosphere for the opening
lighting and furnishings had to be extremely      room from the visual perspective of the en-     ceremony. Another feature was that the fes-

                                                                Four 8m high aluminium towers, each
                                                                with 6 x 4 kW fresnel luminaires, lit up the
                                                                parking areas. Each lighting tower was
                                                                powered by a separate generator.

tive ball atmosphere was to be subtly under-      in order to emphasise this area. The lighting
scored by candlelight on the tables. During       atmosphere was created via two Case II
the ball the entire hall ceiling was coloured     lighting desks with 2048 cycles.
with ARRISUN luminaires in 079 (True Blue).
In the central area there was also television     In total 2700 luminaires, 16 video projectors
lighting for the 12 cameras which relayed         and large format projectors, 2.5 km of rig-
the festivities to 56 countries.                  ging material, 7 km of cabling and 3 move-
                                                  able projection surfaces were in operation
Martin Werhahn: “These varying elements           on this day. 700 m2 of stage area were used.
were separated through a clear structure of       250 technicians were kept busy setting up
lighting material. For the grandstands and        this event in ten days. 100 people were at
seating areas we used PARs exclusively, fil-      work on the day just for the technical and
tered with LEE 180 (Dark Lavender), 079           stage happenings.
(True Blue) and 152 (Pale Gold) – and the
traffic areas with LEE 103 (Straw). In the cen-
tral area unfiltered 5 kW fresnels were add-                              Oliver Stigler, co-
ed. All the effects lamps (140 Mac 500/                                   owner of the agency
600) were hung in the central area. They                                  Molitor and Stigler,
were first used as key lighting for positions                             had the task of tech-
outside the stage area, then as architectural                             nical project leader-
lighting for the opening ceremony and later                               ship. “This time the
as disco and show lights.”                                                production manual
                                                  was really very comprehensive. We sum-
One of the greatest eyecatchers was without       marised everything and wrote up an exact
a doubt the debutantes’ entrance into the         script to guarantee problem-free proceedings
hall. When they reached the entrance plat-        for the events. For the Expo Munich and ev-
form, all luminaires were directed onto them.     eryone involved, the functions were a com-
The entrance platform had one other pecu-         plete success.”
liarity. It was separated by a light curtain
made of ACLs and coloured in LEE 205              MM
(1/2 CTO) and 202 (1/2 CTB), and the
crossbeam lighting was also slightly differ-
ent there, filtered in LEE 162 (Bastard Amber)

     ARRISUN 120 –
            the brightest HMI-Light
The new ARRISUN 120 is one of the most
innovative lighting products that ARRI has
ever presented. Its computer designed opti-
cal system combined with a unique 500 mm-
converter lens set provides extraordinary op-
tical performance, up to 55,000 lux at 20
meters. The light output of the ARRISUN
120 matches and in some applicatione
even surpasses an 18 kw Fresnel.

ARRI´s special lamp lock and support
mechanism (patent pending) ensures preciss
lamp alignment for any 12 kW single end-
ed lamp and prolongs lamp life by reducing
both temperature and mechanical stress in
the lamp socket.

An improved focus mechanism combined
with ARRI´s 500 mm-lens set provides an
almost continuous variety of beam angles
from super spot of 6° to a wide flood of 75°.

The easily handled drop-in lens set is now
color-coded for quick identification. Along
with the classic ARRI construction of cast
and extruded aluminium, the ARRISUN
120’s compact size and weight (less than
40 kg/88 Ibs.) makes it an ideal choice
for a wide range of studio or location ap-
plications. The ARRISUN 120 is compati-
ble with all existing ARRI electronic and
magnetic ballasts.

                                                ARRISUN 120:

                                                Dimensions H x W x L:   730 x 680 x 660 mm
                                                Weight:                 40 kg (88 lbs.)
                                                Light output            Distance 20 m
                                                Throw distance          Beam diameter     Beam angle

                                                Superspot               55,000   Lux       6°
                                                Spot                    25,000   Lux      10°
                                                Narrow Flood             9,000   Lux      12° x 30°
                                                Flood                    4,400   Lux      20° x 45°
                                                Superflood               2,000   Lux      50°
                                                Frosted fresnel          1,300   Lux      41°

                       ARRI X 12
                                           As a ‘specialist‘ for even daylight balanced      Technical Data:
                                           lighting of large surfaces, the first high-per-
                                                                                             Output:                 1200 W single-ended
                                           formance floodlight ARRI X 40/25 was                                      discharge lamp
                                           introduced in the middle of last year. This
                                                                                             Colour temperature:     5600° K
                                           range of luminaires has now been expanded
                                                                                             Lamp socket:            G 38
                                           with the ARRI X 12.
                                                                                             Dimensions W x D x H:   490 x 220 x 525 mm

                                           As with all luminaires, applications are          Weight:                 12 kg (26.4 lbs.)
                                           being constantly extended for high-per-
                                           formance floodlights. The compact ARRI
                                           X 12 is particularly suited to film and
                                           television productions, photography, for
                                           theatre or for functions, where it extends
                                           the creative possibilities.

                                           For flexible lighting the reflector is equipped
                                           with quick releases and can be replaced
                                           without tools, for example by a black re-
                                           flector for hard shadows (shadow light).

                                           The lamp with an output of 1200 Watt can
                                           comfortably be attached and detached with
                                           the quick-change socket.

Light values in Lux:

Distance               3m     5m    10 m      Beam-Angle

1200 Watt              2220   800   200       120°

      Everything under one Roof:

MAT                    ARRI working together
A unique partnership in the Munich film and    duction, but with ARRI TV, the laboratory
TV scene is the innovative collaboration be-   and ARRI Digitalfilm as partners integrate
tween the companies ARRI and MAT. Peter        their comprehensive know-how in post-pro-
Braun, Managing Director of MAT, and ARRI      duction, in addition to complex shoots.
present together a new and unique meet-
ing point for all film-makers in the media     In order to give this new business idea a       At the same time ARRI moved its grip equip-
setting: a ‘One Stop Shop‘ where in addi-      unified physical framework, MAT moved           ment from Türkenstraße to Lerchenstraße.
tion to the renowned ARRI film technology      into the ARRI hall on 1 February 1998 in        The spacious hall provides far better dem-
(cameras, lighting and grip equipment),                                                        onstrations and above all more quickly and
also exclusive MAT camera support tech-        Lerchenstraße 28                                easily loading of equipment.
nology (including camera cranes, remote        D-80995 Munich
heads, snorkel systems and camera cars                                                         The new collaboration will be officially pre-
such as the Roadrunner) can be hired. As       and can be reached at                           sented and celebrated on June 18th when
well there’s the quick, competent service      Phone: 0049 - 89 - 35 79 99 - 01                MAT and ARRI invite guests to an Open
and advice which doesn’t stop at the pro-      Fax: 0049 - 89 - 35 79 99 - 06                  House in Lerchenstraße.

                                                            Dr. Stefan Frank
                                               The series ‘Dr. Stefan Frank’ is one of tele-   the series, ‘Dr. Stefan Frank‘ has been
                                               vision channel RTL’s most successful produc-    equipped with lighting and camera equip-
                                               tions. The fifth series of 16 new episodes is   ment from the ARRI rental park. With such
                                               currently beeing planned. Shooting is to        an intens schedule it was logical for the
                                               begin in early September. The story about       production to rent office space right there
                                               the doctor has been in production since         on ARRI’s company premises: “As well as
                                               1994 and captivates over 5.5 million view-      the personal contact to all service areas,
                                               ers to the screen every week.                   the short distances were a definite ad-
                                                                                               vantage“ says executive producer
                                               To date 61 episodes of the series have been     Walter Pöttgen.
                                               filmed. Over 5500 extras have spent a to-       Production: Phoenix Film
                                               tal of 702 days in front of the camera, and
                                               over 250,000 metres of film have been de-
                                               veloped in the ARRI lab. Since the start of     MM

                      A Selection of Currently Serviced                                     Productions

ARRI Camera Rental                                         M   U   N   I   C   H
Title                                 Production Company                   Director                   DoP                        Equipment

A DOG OF FLANDERS                     Flanders Prod.                       Kevin Brodie               Walther van den Ende       535 / 535B
ABEL                                  TV 60 Filmproduktion                 Marc Rothemund             Johannes Kirchlechner      16SR3
DR. STEFAN FRANK                      Phoenix Film                         Udo Witte                  Jochen Radermacher         16SR3
EYES WIDE SHUT                        Hobby Films / Warner Bros.           Stanley Kubrick            Larry Smith                535B
FORSTHAUS FALKENAU                    NDF                                  Klaus Grabowsky            Alfred Tichawsky           16SR3
MORD UND TOTSCHLAG                    TV 60 Filmproduktion                 Bernd Fischerauer          Bernd Neubauer             535B
POLIZEIRUF 110                        Infa Film                            Ulrich Stark               Wolf Siegelmann            16SR3
RUNGSTED                              Thura Film                           Morten Kohlert             Jan Weincke                535B
THE VIRTUOSO                          Maksla Prod.                         Alexander Buravsky         Vladimir Klimov            BL
WING COMMANDER                        Carousel Picture Comp.               Chris Roberts              Thierry Arbogast           535B / 435

ARRI Media                        L   O   N   D    O   N

Title                             Production Company                       Director                      DoP                     Equipment

EARTH                             Cracking The Earth Films Inc.            Deepa Mehta                   Giles Nuttgens          535B
EUGENE ONEGIN                     Onegin Production                        Martha Fiennes                Remi Adefarasin         535B / 435
KING LEAR                         King Lear Productions                    Richard Eyre                  Roger Pratt             16SR3
OUT OF HOURS                      BBC, Monogram, Tyro                      Douglas Mackinnon
                                                                           Robin Sheppard                Grant Cameron           16SR3
SHAKESPEARE IN LOVE               Shakepen Productions Ltd.                John Madden                   Richard Greatrex        535B / 435
STILL CRAZY                       Still Crazy Limited                      Brian Gibson                  Ashley Rowe             535B / 435
THE JUMP                          Warner Sisters Film + TV Ltd.            Richard Standeven             John Daly               16SR3
TOUCHING EVIL II                  Anglia TV                                Sheree Folkson                David Odd               16SR3
VANITY FAIR                       BBC TV                                   Marc Munden                   Oliver Curtis           16SR3

CSC           N   E   W   Y   O   R   K

Title                                         Production Company                      DoP/ Gaffer                             Equipment

GLORIA                                        Gloria Prod.                            David Watkin / Tim Guiness              535 / 535B / 435 / Lighting
HE GOT GAME                                   Swishin‘ and Dishin‘                    Malik Sayeed                            535B / Lighting
LESSER PROPHETS                               Prophetable Pictures                    Fred Schuler / Pat Cousins              535B / Lighting
MY GIANT                                      Castle Rock                             Bob Ceratta                             Lighting
OBJECT OF MY AFFECTION                        20th Century Fox                        Andy Day                                Lighting
ROW YOUR BOAT                                 Row your Boat Prod.                     Zoltan David                            BL4s
SCARED CITY                                   Scared Prod.                            Mike Slovis / Derick MacKane            535B / Lighting
SEX IN THE CITY                               Sex in the City                         Stewart Dryberg / Mike Marzovilla       16SR3 / Lighting
SOPRANO                                       Soprano Films                           Andrew Clark                            Lighting
SPANISH PRISONER                              Jasmine Prod.                           Michael Burke                           Lighting
THREE BELOW ZERO                              Roman Kuhn                              Jamie Silverstein / Vanya Edwards       535B / Lighting

                ARRI Lighting Rental                                  L   O    N   D   O   N

                Title                              Production                              Director               DoP

                BIRTHS, DEATHS AND MARRIAGES       Tiger Aspect                            Adrian Shergold        Dav Hobson
                FRENCHMANS CREEK                   Carlton Television                      Ferdinand Fairfax      Dave Chris Seagar
                LOVE AND RAGE                      Love and Rage Ltd.                      Cahill Black           Slawomir Idziak
                STILL CRAZY                        Still Crazy Limited                     Brian Gibson           Ashley Rowe
                THE LOST SON                       Scala Films                             Chris Menges           Barry Ackroyd
                THIS YEARS LOVE                    Kismet Films                            David Kane             Robert Alazraki
                VANITY FAIR                        BBC                                     Marc Munden            Oliver Curtis
                WARZONE                            Sarah Radclyffe Prod.                   Tim Roth               Seamus McGarvey

                ARRI Lighting Rental                                  M    U   N   I   C   H

                Title                              Production

                BMW OPEN                           Iphitos
                HILTI                              Wyatt & Wyatt
                LOVE AND RAGE                      TV 60
                MC DONALD‘S                        E & P Commercial
                OFF ROAD 98                        Neptunia
                VIRTUOSO                           Maksla Produktion
                WALT DISNEY VIDEO                  Recla

ARRI Digital Film
Title                               Production                Director                           Service

23                                  Claussen & Wöbke          Hans-Christian Schmid              Digital Compositing
                                                                                                 Cineon / Flame / Inferno
BIN ICH SCHÖN                       Constantin Film           Doris Dörrie                       Digital Compositing
                                                                                                 Cineon / Flame / Inferno
CAIPIRANHA (GIFT UND GALLE)         Tele München              Felix Dünnemann                    Digital Compositing
                                                                                                 Cineon “De-Flicker”
STÄDTER ZUR PAARUNGSZEIT            SAM Film                  Mark Rothemund                     Visual Effects 3D, Digital Compositing

EXPO JET                            KUK Filmproduktion        Josef Kluger                       Visual Effects 3D, Digital Compositing
                                                                                                 Cineon / Flame / Inferno

Films and Series
Title                         Production

CASCADEUR                     Cascadeur Filmproduktion
DAS FINALE                    TV 60
GESCHLECHTSREIFER GROSS-                                      from above to below:
STÄDTER ZUR PAARUNGSZEIT      Sam Film                                       Thomy
DER CLOWN II                  Action Concept
                                                                    Austrian Airlines
DIE BUBI SCHOLZ STORY         MTM West Televisio & Film                      Castrol
DIE WACHE                     Endemol Entertainment
DR. STEFAN FRANK              Phoenix Filmproduktion
FEUERREITER                   Provobis
GLORY DAYS                    Zeitsprung Filmproduktion
HEART ROAD                    Dreamer Joint Venture
HERZFLIMMERN                  Frankfurter Filmproduktion
JETS                          Frankfurter Filmproduktion
NIKOLA                        Columbia Tristar
PAULS REISE                   Avista Film
RAPSODIE IN BLUT              Movie Makers
TIERÄRZTIN CHRISTINE II       Wörthersee Filmproduktion
TÖDLICHE VERSUCHUNG           Phoenix Filmproduktion
TÖDLICHES GEHEIMNIS           Fontana Film
TROOPERS                      Film-Line Productions

Client                        Production

AUSTRIAN AIRLINES             Tale Film
BITBURGER                     Heye
C&A                           RKP Roman Kuhn Filmproduktion
CASTROL                       GAP German Answer Prod.
DIESEL                        Bel Air
GRIESSON                      Interteam
LLYAMA                        Target Film
L‘TUR                         Picture Planet
MEDIA MARKT                   Picture Planet
PHILADELPHIA                  E & P Commercial
SAGROTAN                      Input Filmproduktion
SCHWÄBISCH HALL               RKP Roman Kuhn Filmproduktion
SIEMENS                       Embassy of Dreams
THOMY ROT WEISS, ROT GELB     Input Filmproduktion
TUCHER BIER                   Bilderrausch
VITTEL                        Input Filmproduktion

                   ARRI Sound
                      We are especially pleased that the sound        of the waiting forces them to let their super-
     FEUERREITER    completion services for Nina Grosse’s             ficial masks drop – elementary conflicts be-
                    FEUERREITER took place with us. FEUERREITER       tween men and women come to the fore.
                    tells the story of the young and highly tal-      An unreal striptease of the soul begins…
                    ented poet Friedrich Hölderlin and his love       Simon Aeby directed, Markus Goller edited
                    for Susette Gontard, his employer’s wife:         on the AVID, the sound design was done in
                    an impossible yet eternal love.                   New York and is under the responsibility of
                                                                      Pit Kullmann in Munich. Music is by Stephan
                    After her prize-winning first film DER GLÄSER-    Massimo.
                    NE H I M M E L and several television projects,
                    Nina Grosse has now made her second fea-          All Protools data was delivered from the
                    ture film for the cinema with this European       USA on 10 Jaz-disks. All data was available
                    co-production costing 10 million DM. She          and despite varying TC norms (PAL-NTSC)
                    filmed it from February to December ’97 at        also synchronous.
                    various locations in France, Poland and
                    Germany. Main actors are Martin Feifel            The film requires various soundtracks, which
                    as Hölderlin, Marianne Denicourt as Susette       utilised the Dolby SR-D format to the maxi-
                    Gontard, Ulrich Mühe, Ulrich Matthes and          mum. The original sound was digitally
                    Nina Hoss. Producer Jürgen Haase (Provo-          cleaned and premixed on 6 channels. Due
                    bis): “Susanne Schneider wrote the script. It     to this preparatory work, post-sync could be
                    impressed me because it sheds a new light         eliminated. Then came 40 tracks of sync
                    on Hölderlin’s life.“                             sound, atmospherics and effects. Through
                                                                      pre-mixing hall, pan, delay and harmonising
                    Patricia Rommel (JENSEITS DER STILLE ) is         the effects, the main task for sound mixer
                    responsible for AVID editing, assisted by         Tschangis Chahrokh consisted of evaluating
                    Anne Wagner. Annette Prey (Soundabout)            the music and overall character of the mixing.
                    and Marcel Spisak are responsible for
                    sound design; sound editing is being carried      Cinema start: Autumn ’98
                    out by Steffie Geißler and Jutta Nullmeyer.
                    Dialogue (dialogue direction Marika von           SAM-Film (Andreas Ulmke-Smeaton, Ewa
                    Radvanyi) and foleys (Jo Fürst) were re-          Karlström) surprised us with their wilful title
                    corded by Peter Notz in the newly refur-          DAS MERKWÜRDIGE VERHALTEN GESCHLECHTS-
                    bished Studio B.                                  REIFER GROSSSTÄDTER ZUR PAARUNGSZEIT
                                                                      (THE STRANGE BEHAVIOUR OF CITY-DWELL-
                    Sound mixing (Max Rammler-Rogall) in              E R S I N T H E M AT I N G S E A S O N ) – director
                    Dolby SR-D took a total of four weeks, which      Marc Rothemund, editing Barbara von
                    considering the artistic demands and the          Weitershausen, sound design Alex Saal,
                    running time of 133 minutes was very short.       mixing Tschangis Chahrokh.

                    Progress Film Distributors will bring FEUER-      This co-production with Pro 7 stars Anica
                    REITER to the cinemas in Autumn ’98.              Dobra, Christoph Waltz, Gudrun Landgrebe,
                                                                      Michaela May and many others ...
                      Roman Kuhn is diversifying – THREE BE-
                    LOW ZERO was made in New York and is
                    the first feature film by the well-known ad-
                    vertising guru. So, what’s it about? The
                    communal laundry in a New York apart-
                    ment block is turned into a prison for one
                    night for three people of varying ages, sex
                    and social class. The claustrophobic atmos-
                    sphere of the room and the powerlessness

                                                     THREE BELOW
Quote by Charly (Christoph Waltz): “Spring–        ager and students from the Falckenberg
a unique play of natural forces. The boys get      school star in it. Micki Joanni did the ed-
going with innovative antics to impress – the      iting, Michael Hinreiner original sound
girls bloom and display their charms …“            and sound design. Mixing was carried
                                                   out in ARRI’s Studio A.
In Felix Dünnemanns G I F T U N D G A L L E
(POISON AND BILE) ,   enemy neighbours go          PPA-FILM (Pierre-Peters Arnolds) dubbed
crazy and create chaos. Amongst dough              the new Oliver Stone film U-TURN for Co-
and muesli, the cat lands in the fishpond          lumbia-Tristar: a road movie and at the
and the daughter lands in the wrong bed.           same time a very exciting thriller.
Katharina Thalbach, Christine Kaufmann,
Rainer Basedow, film beau Ralph Bauer              Klaus Wendt mixed the German version in
and the attractive Jasmin Gerat go at each         all three digital formats.
other hammer and tongs.

Conny Strecker is responsible for the speedy         Personalities
editing, and Alex Saal’s effects have a great      Good news for Max Rammler-Rogall and
‘rumble‘. “Mixmax“ mixed the Tele-München-         Marcel Spisak. They were nominated in                    DAS MERKWÜRDIGE VERHALTEN
Film-Produktion in January in Dolby-SR. We         the sound category for the Technical Lion                GESCHLECHTSREIFER GROSSSTÄDTER
wish you lots of fun.                              award in 1997 for the Avista Film LEA by                 ZUR PAARUNGSZEIT
                                                   Ivan Fila.
  Ralph Hüttner made such a stir with
MUSTERKNABEN       I that Senator-Film is bring-   Max Rammler-Rogall
ing the film to the cinemas and ARRI will
shortly be able to process MUSTERKNABEN
II . As on MK I, Veronika Zaplata is doing
the editing, Achim Hoffmann the sound
design and Tschangis Chahrokh the mixing.                  Our latest productions
This NDF-production stars Oliver Korittke,                 BIN ICH SCHÖN
Jürgen Tarrach, Sophie v. Kessel and many                  Doris Dörrie‘s new film (production: Constantin) is based on here own collection
others.                                                    of short stories. It stars: Senta Berger, Anica Dobra, Gottfried John, Heike
                                                           Makatsch, Uwe Ochsenknecht, Armin Rohde, Gisela Schneeberger and many
  Herbert Achternbusch’s NEUE FREIHEIT –                   others. Editing by Inez Regnier, Sound editing by Solweig Bores, Music by
KEINE JOBS – SCHÖNES MÜNCHEN – STILL-                      Roman Bunka, Soundmix by Max Rammler-Rogall.
TIFUL MUNICH – STANDSTILL ) is a very per-                 TÖDLICHES GEHEIMNIS
sonal statement on a politician named Kohl                 Josef Rödl‘s thrilling psychodrama for SAT 1 (Production Fontana). Editing by
and a satire on so-called progress. The film               Susanne Hartmann. Sounddesign by Michael Hinreiner, Magda Habernickel, Music
was screened in the Werkraumtheater in                     by Peter Weihe. Soundmix by Max Rammler-Rogall.
Munich. A crowd of well-known actors from
the Kammerspiele as well as theatre-man-                   DAS FINALE
                                                           TV-60 Produces the actionmovie for PRO 7, directed by Sigi Rothemund.
                                                           Starring: Francis Fulton-Smith, Christoph Waltz, Axel Mielberg und Armin Rohde.
                                                           AVID editing by Andreas Herzog, Soundesign by Stephan Busch, Soundmix by
                                                           Anton Rädler / Tschangis Chahrokh.

                                                           TIERÄRZTIN CHRISTINE III
                                                           Director: Chrisitan Kohlund, Production: Wörthersee Filmproduktion.
                                                           Starring: Uschi Glas, as maincharacter. AVID editing debut by Melania Singer,
                                                           Sounddesign by Marcel Spisak, Soundmix by Tschangis Chahrokh.

     Key Contacts

     Support Camera               ARRI Sound                   ARRI Lighting Rental
     Günter Zoeh                  Max Rammler-Rogall           Tim Ross
     D-089-3809-1209              D-089-3809-1628              GB-0181-561 6700

     Camera Rental, Munich        Laboratory                   ARRIFLEX Corporation
     Robert Wiesmann              Josef Reidinger              Franz Wieser
     D-089-3809-1325              D-089-3809-1339              USA-0914-353 1400

     Lighting Rental, Munich      ARRI contrast GmbH,          CSC Camera Service
     Hubertus Prinz               Berlin                       Center
     von Hohenzollern             Laboratory, Sound,           Neil Bahnemann
     D-089-3809-1345              Videopostproduction          USA-0212-757 0906
                                  Peter Petersen
     ARRI TV                      D-030-3 000 91-11            ARRI Canada
     Franz Kraus                                               Penny Watier
     D-089-3809-1512              ARRI GB Ltd                  CDN-0416-255 3335
                                  Nick Shapley
     ARRI Digitalfilm             GB-0181-848 8881             ARRI Italia
     Angela Reedwisch             ARRI Media                   Massimo Lobefaro
     D-089-3809-1574              GB-0181-573 2255             I-02-26 22 71 75

     Arnold & Richter Cine Technik, Türkenstraße 89, D-80799 München
     Phone D-089-3809-0, Fax D-089-3809-1791

     Expo Calendar 1998

     These are the most important exhibitions where you can find out about
     ARRI products and services:

     12 – 14 June                          ShowBiz Expo West              Los Angeles

     11 – 15 September                     IBC                            Amsterdam

     19 – 21 September                     cinec                          München

     27 – 31 October                       Broadcast India                Mumbai

     11 – 13 November                      InterBee                       Tokio

     13 – 15 November                      LDI                            Phoenix

     Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München
     Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Müller
     With additional text by: Christian Bürckstümmer, Sebastian Cramer, Thomas Drechsel,
     Stephan Kalesse, Monika Raebel, Max Rammler-Rogall, Franz Wieser, Mark Woods, ARRI GB
     Artwork: Heilig, Schmid, Beisenherz / München
     Printed by: rapp-druck GmbH, Flintsbach
     Litho: EDTZ, Ottobrunn

     Technical data are subject to change without notice


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