VisionARRI Magazine Issue 1 by ARRI

12/05 ISSUE 1

VisionARRI

The Biannual International Magazine from the ARRI RENTAL & POST PRODUCTION ENTERPRISES

KING

KONG

Itâ&#x20AC;&#x2122;s monster!

Interview with DoP

Andrew Lesnie, ACS The Robber Hotzenplotz A German fairy tale

Digital Intermediate The new Lustre Grading Suite

ARRIMAX Has Landed The most powerful HMI on the planet

Bleak House BBC uses HD for period drama

THE WORLD JUST GOT SMALLER The ARRI Rental Group and ARRI Film & TV Services can provide you with a complete service that can see your project through from start to finish. An extensive network of ARRI rental companies, as well as ARRI rental partners and associates, ensures the latest high quality equipment is available throughout the world. ARRI Film & TV Services

in Germany provides a studio, film processing lab, digital intermediate services, visual effects and sound post-production facilities. In short, the ARRI Rental Group and ARRI Film & TV Services provides everything you need for your production - you can even watch the end result in our state-of-the-art ARRI Cinema in Munich.

ARRI SUBSIDIARIES

ARRI PARTNERS & ASSOCIATES

AUSTRALIA ARRI Australia, Sydney Cameras, Digital Rod Allan, Bill Ross T +61 298 554 300 rallan@arri.com.au bross@arri.com.au CZECH REPUBLIC ARRI Rental Prague Lighting, Grip Arno Sieberger T +42 023 431 3012 asieberger@arri.de GERMANY ARRI Rental Berlin Cameras, Lighting, Grip Fritz Sammer T +49 303 468 0024 fsammer@arri.de ARRI Rental Cologne Cameras Christian Hilgart T +49 221 170 6724 chilgart@arri.de

LUXEMBOURG ARRI Rental Luxembourg Cameras Steffen Ditter T +352 2670 1271 sditter@arri.de

BULGARIA Boyana Film Studios, Sofia Cameras, Lighting, Grip Lazar Lazarov T +359 2958 2766 director@boyannafilm.bg

UNITED KINGDOM ARRI Lighting Rental, London Lighting Tommy Moran T +44 1895 457 200 tmoran@arrirental.com ARRI Focus, London Short term lighting hire for commercials & promos Martin Maund, George Martin T +44 1895 810 000 martin@arrifocus.com george@arrifocus.com

CYPRUS Seahorse Films, Nicosia, Paphos Cameras, Digital, Lighting, Grip, Studio Andros Achilleos T +357 2691 3064 andros@seahorsefilms.com

ARRI Media, London Cameras, Digital, Grip Philip Cooper T +44 1895 457 100 pcooper@arrimedia.com

ARRI Crew, London ARRI Rental Munich Cameras, Digital, Lighting, Grip Diary Service Kate Collier Thomas Loher T +44 1895 457100 T +49 893 809 1440 arricrew@arrimedia.com tloher@arri.de ARRI Film & TV Services, Munich Film Lab, Digital Intermediate Visual Effects, Sound, Studio, Cinema Key Account Manager Angela Reedwisch T +49 893 809 1574 areedwisch@arri.de Director National Sales Walter Brus T +49 893 809 1772 wbrus@arri.de Head of ARRI Lab Josef Reidinger T +49 893 809 1339 jreidinger@arri.de Head of ARRI Digital Film Henning Radlein T +49 893 809 1970 hraedlein@arri.de Head of ARRI Sound Thomas Till T +49 893 809 1292 ttill@arri.de

USA ARRI CSC, New York Cameras, Digital, Lighting, Grip Simon Broad, Hardwrick Johnson T +1 212 757 0906 sbroad@cameraservice.com hjohnson@cameraservice.com ARRI CSC, Florida Cameras, Digital, Lighting, Grip Ed Stamm T +1 954 322 4545 estamm@cameraservice.com

CZECH REPUBLIC DEBRA, Prague Cameras Ivan Jiranek T+42 022 056 1684 ivan@debrarental.com FRANCE Bogard, Paris Cameras, Digital, Grip Didier Bogard, Alain Grellier T +33 153 681 635 didier@bogardsa.com alain.grellier@bogardsa.com GERMANY Maddelâ&#x20AC;&#x2122;s Camera GmbH, Hamburg Cameras, Grip Matthias Neumann T +49 4066 86390 maddel@maddels.com ICELAND Pegasus Pictures, Reykjavik Cameras, Lighting, Grip Elli Cassata T +354 414 2000 elli@pegasus.is

IRELAND The Production Depot, Co Wicklow Illumination Dynamics, LA Cameras, Lighting, Grip Lighting John Leahey, Dave Leahey Carly Barber, Maria Carpenter T +353 1276 4840 T +1 818 686 6400 john@production-depot.com carly@illuminationdynamics.com dave@production-depot.com maria@illuminationdynamics.com NEW ZEALAND Illumination Dynamics, Camera Tech, Wellington North Carolina, Cameras Lighting Peter Fleming Jeff Pentek T +64 4562 8814 T +1 704 679 9400 cameratech@xtra.co.nz jeff@illuminationdynamics.com

RUSSIA ACT Film Facilities Agency, St. Petersburg Cameras, Lighting, Grip Sergei Astakhov T +7 812 110 2080 astakhovs@mail.ru SOUTH AFRICA Media Film Service, Cape Town, Johannesburg, Durban, Namibia Cameras, Digital, Lighting, Grip, Studio Jannie Van Wyk T +27 215 113 300 jannie@mediafilmservice.com

VISIONARRI

Welcome to the first edition of VisionARRI

4 IT’S MONSTER! Director of Photography Andrew Lesnie, ACS

The ARRI Rental Group and ARRI Film & TV Services have designed this magazine to share news and views with you from productions around the world. Through our continuing growth, we are creating a wider reach for ARRI products and facilities. We would like you to hear from technicians and production staff working with our latest technology.

8 ARRIFLEX D-20, THE WORD SPREADS

The features and stories you are about to read will hopefully provide you with a picture of how and why our products are used, and the expertise and professional attitude shown by all of our facilities. Our network of services endeavour to provide you with peace of mind, knowing that you will receive the same quality of equipment, service and support you expect from ARRI, wherever you may be in the world. Find our worldwide contact details opposite.

CONTENTS

talks about his experiences shooting King Kong

Catch up on the latest worldwide activities of the D-20

11 IT’S AUTOMATIC! Introduction to Illumination Dynamics moving light department

12 DIDigitalFROM START TO FINISH Intermediate and the new Lustre Grading Suite at ARRI Film & TV Services

14 PERFUME: THE STORY OF A MURDERER

1st Camera Assistant, Christian Almesberger discusses working with the Master Primes on the feature Perfume: The Story of a Murderer

16 BLEAK HOUSE Hear from three key people behind the BBC’s new period drama, Bleak House

18 MOMENTS IN TIME Retrospective of how the ARRIFLEX 35BL was used on the 1972 police corruption thriller Across 110th Street

21 ROBBER HOTZENPLOTZ The creation of a German fairy tale 24 ARRIMAX HAS LANDED The most powerful HMI on the planet 26 TURKISH DELIGHT! Turkish film production company takes advantage of ARRI’s “one-stop-shop”

28 TAKE 10 28 DID YOU KNOW? 29 ON SET WITH THE MASTER PRIMES Director of Photography August Jakobsson comments on the Master Primes

VisionARRI would like to thank the following contributors; Didier Bogard, Simon Broad, Kate Collier, John Gresch, Jochen Hähnel, Mark Hope-Jones, Thomas Loher, Sandra Pirchmoser, Angela Reedwisch, Jeremy Sassen, Prof. Jürgen Schopper, DD. Michael, Marc Shipman-Mueller, Michelle Smith, Olly Tellet, An Tran, Kate Walton, Franz Wieser, American Cinematographer, The British Film Institute Reading Library.

30 NEWS FROM AROUND THE WORLD 34 PRODUCT UPDATES 36 PRODUCTION UPDATE 39 FESTIVALS CALENDAR Front Cover Still from King Kong kindly supplied by Weta Digital LTD./Universal Studios

Director of Photography, Andrew Lesnie, ACS on King Kong

ITS

MONSTER Academy Award-winning Cinematographer Andrew Lesnie, ACS first set off on a filmmaking adventure with Peter Jackson on The Lord of the Rings (LOTR) trilogy. Lesnie’s latest offering, King Kong updates the classic film from 1933 for modern times. From creating the streets of Depression-era Manhattan to bringing the tragic primate to life, the production utilized computer-generated effects from Weta Digital while also employing miniature effects -- more than twice the amount shot for all three LOTR films. Like with LOTR Lesnie chose ARRI cameras to capture the exciting story of man and beast, checking out the entire package from ARRI Rental Germany with local technical support provided by Peter Fleming in Wellington, New Zealand. Two ARRIFLEX 435 ADVANCED cameras were employed along with two ARRICAM Lites, one ARRICAM Studio and one ARRIFLEX 235. For the digital intermediate (DI) and visual effects work, the film was brought into the digital realm through the ARRISCANNER. After the effects and DI work were completed, the project was then recorded out to film via an ARRILASER. In this interview, Lesnie discusses his experience working on King Kong. The dramatic adventure film stars Naomi Watts, Jack Black and Adrien Brody. A very interesting behind-the-scenes video production diary featuring Lesnie, Jackson and the King Kong cast and crew may be found at www.kongisking.net. What was it about this particular script that made you want to be involved as an artist? Was there a certain challenge that drew you to it?

AL: I enjoy working with Peter Jackson, and any of his projects are always a challenge.

Can you talk a bit about your early discussions with Peter Jackson regarding the film’s overall look and feel? What were you going for?

AL: When the project was first mentioned I thought, “Great! We get to go to New York, Rarotonga and have an ocean voyage!” So I was quite surprised when PJ told me the whole film would be done in the Wellington metropolitan area! We did go to Auckland to use the 2,000 seat Civic Theatre as the interior of the Kong Theatre and second unit took the

real SS Venture out for a run up the coast, with an aerial unit run by David Nowell.

With so many effects in this film, what kind of tests did you do in prep? What were you trying to find out?

AL: I spent lots of prep getting a feel for the film with Production Designer Grant Major, who had set up a “concept room,” with the entire story running chronologically around the walls. There was conceptual art, period clippings, and a huge collage of visual references pertinent to the film.

I also spent time with the conceptual artists and the pre-viz department, since so much of these films is decided at that stage. The concept art was being created in PhotoShop, so we could manipulate the colour palette and run these in front of PJ. Knowing that this film would go to a digital intermediate later, did you expose the film differently than you would have without a DI?

AL: Knowing that the project will finish as a DI doesn’t change the intention to create as much of the finished look on camera negative as possible. I do tend to open up a touch to capture as much data as possible. On set I’m always concerned about maintaining some kind of momentum as far as the cast goes, so one benefit of a DI means I can determine whether some lighting issues can be dealt with in post.

You wanted the lighting for this movie to feel more “organic” in terms of integrating smoothly with CG environments. What do you mean by this?

AL: This project would involve complex VFX environments, night city scapes, jungles, and set at times like dusk, dawn and everything in between. If you want the characters to be standing in the shadow of a ravine, with the sun glancing down the far wall, the live action component is going to be lit more flatly than the final shot is going to look. Or staging a lengthy scene during a sunrise, with all the resultant changes in colour temperature and densities that come with it. The jungles were particularly interactive. We were very ambitious.

VISIONARRI

Since King Kong is so huge in size, what did you need to think about in terms of framing and composition, especially when he is in a shot with a human?

We set up a lighting stand with a ball at the correct height as an eye line for the cast. That would also give the Operators a heads-up as to composition. Our secret weapon was Andy Serkis, who played Kong on set. We’d put Andy on towers, scissor lifts or condors (boom-arms) at the correct height which would also give the cast someone to perform against. Andy wore a mike which was plugged into a PA system, so when he growled, we all felt it.

AL:

Can you talk about the role of Ants Farrell and how his responsibility for lighting continuity came about? What duties did he have and how did this help you?

AL: Collecting lighting information on previous VFX films always ended up with box loads of paper or lots of notebooks. Since it’s essentially data collection, I figured there had to be an efficient method and technology that wouldn’t hold us up. I spoke to Gaffer Reg Garside about it, he did some research and eventually chose Ants Farrell to make it a reality. Ants was Best Boy on LOTR, has gafferd some smaller New Zealand features, and coupled with his computer expertise, made him ideally qualified to design and finesse the system. The lighting data was downloaded to a secure website that could be accessed by second unit, miniatures or Weta Digital. We found the information to be extremely valuable during pickups.

IT’S MONSTER

How involved are you with shooting miniatures or does the miniatures crew simply go with it?

I had initial meetings with Alex Funke, ASC who heads the miniatures department. Once Alex saw where I wanted to take the look of the project, we spoke no more. Alex is a genius and gifted artist in his own right. I can depend on him to not only match what I’ve shot, but frequently he’ll lift the imagery into a whole new stratosphere.

AL:

Similarly, with the effects work, how involved are you with this process in regards to keeping the lighting you’ve created during the shoot?

AL: The nature of the way post-production grading has been set up in Wellington, and the fact that the grading department falls under the auspices of Weta Digital, means I’m around the evolution of the VFX a lot. Naturally, I find it difficult to avoid having an opinion!

I’ve seen some footage of you operating. Do you always operate?

AL: I love to operate. I think lighting and operating are inseparable. Unfortunately, on big films a lot of management responsibilities come into the mix, which means I can’t devote as much time to operating as I’d like, because it’s a very time-consuming job and tends to deny me the opportunity to step back and see the bigger picture. So on projects like King Kong I end up operating second or third camera.

For scenes of the SS Venture that were actually shot on land, did you do anything to move the camera to seem like the boat was on water?

AL: Most of the coverage onboard the land-locked SS Venture set was shot Steadicam, handheld or remote heads on cranes to ensure the camera stayed moving. The fun stuff was simulating the ship in turbulent situations. The Operators would rehearse throwing themselves around in sync. It was like a dance class. We also communicated being at sea with a lot of lighting effects.

When shooting inside the ship, what were you going for with the lighting? How did you deal with working in these tight, confined spaces?

AL: We generally tried to keep the ship interiors moody. It’s almost as difficult working a tiny space as a vast one. Reg and I got Production Designer Grant Major to create plenty of panels that could pop out for lighting or camera positions.

VISIONARRI

DoP ANDREW LESNIE, ACS and Director Peter Jackson (left to right)

The scenes of Ann Darrow in King Kong’s hand were shot completely green screen. How did you light that? Q:

Ann is in Kong’s hand a number of times during the film, in all sorts of environments and times of day. Since the filming of these shots happens in a stationary position, I have to imagine what sort of interactive effects would be passing across her as she gets carried along (or up). We created jungle shadow pattern makers that were either spinning wheels of different textiles and fabrics with lights passing through. Sometimes we just swung branches through lights. Sometimes we dimmed lights up and down.

AL:

“THE FUN STUFF WAS SIMULATING THE SHIP IN TURBULENT SITUATIONS. THE OPERATORS WOULD REHEARSE THROWING THEMSELVES AROUND IN SYNC. IT WAS LIKE A DANCE CLASS.”

Is there a specific scene that you are particularly proud of how it came out (I’m sure there are many)?

Because the A camera tended to be Steadicam and the B camera gunned for tighter coverage, I tended to work C camera, which frequently was mounted on a Scorpio remote head on a Giraffe crane. Since PJ tends to concentrate on the first two cameras, this gave the grips and I regular opportunities to design and execute some very beautiful shots.

AL:

Tell us about your crew.

Lots of Kiwis and Aussies. Second unit DP Richard Bluck, Gaffer Reg Garside (the Matrix trilogy), Key Grip Tony Keddy (LOTR), Camera Operators Cameron Maclean, Simon Harding, Rhys Duncan and John Cavill, Focus Pullers Colin Deane, Dean McCarroll, Andrew Stroud and Sean Kelly, Rigging Gaffer Dave Brown and Practicals Gaffer Warwick Peace. Aerials of the SS Venture at sea were photographed by Cinematographer,David Nowell, ASC. AL:

Picture Credits

Stills from King Kong kindly supplied by Weta Digital LTD./Universal Studios Photograph of Andrew Lesnie by Pierre Vinet/Universal Studios

An Tran

ARRIFLEX THE WORD SPREADS “WHAT INITIALLY IMPRESSED ME ON ‘FIRST LOOKS’ WAS THE ERGONOMIC DESIGN OF THE CAMERA, MUCH LIKE A FILM CAMERA. OF COURSE, HAVING A SENSOR THE SAME SIZE AS A SUPER 35MM FILM APERTURE IS A BIG PLUS, OFFERING THE DEPTH OF FIELD THE SAME AS 35MM FILM” DoP Dejan Georgevich

DoP CURTIS CLARK, ASC shooting a commercial with the D-20 in Hollywood

The ASC Technology Committee Examines ARRI’s Film-Style Digital Camera As part of a continuing development programme, pre-production units of the ARRIFLEX D-20 have been showcased at events, taken part in workshops and undergone extensive field trials around the world. One of the latest of these activities was a meeting in early October with members of the American Society of Cinematographers Technology Committee at Laser Pacific’s theatre in Hollywood. Bill Lovell, ARRI’s Digital Camera Product Manager, showed D-20 test footage and gave a presentation that highlighted the cameras strengths. 8

“Several years ago ARRI realized the reality of where technology was going and that the role of digital capture needed to be considered. We not only wanted to provide the necessary image quality but also wanted to reflect the needs of cinematographers.” Lovell explained. The D-20 combines the handling and functionality of ARRI film cameras with the immediacy of digital acquisition to provide a modern film-style digital camera. The single 6 Megapixel CMOS sensor at the heart of the camera is the same size as the Super 35mm film aperture, allowing the use and creative choice of 35mm format lenses and resulting in images that have the same depth of field as 35mm.

VISIONARRI

D-20 Camera handling is enhanced with an optical viewfinder and compatibility with existing ARRI accessories. Many consider the optical viewfinder as an essential accessory and for the ASC audience, like many others, this feature was considered a distinct advantage. “A viewfinder you can actually see through, that's brilliant,” noted Rodney Charters, ACS, ASC. As the shelf life of digital cameras is far shorter than film cameras, the design of the D-20 is modular to allow for advances in technology. “The modularity isn't so you can take the camera apart on set,” noted Lovell. “We don't want the camera to be obsolete in a few years. We designed the camera to be modular so we can upgrade it into the future.” Also shown to the ASC was test footage shot on the D-20 earlier in the year at the Cine Gear master class ‘The High End of Digital Image Capturing’. The master class, moderated by Bill Bennett, ASC, and lit by Russell Carpenter, ASC, looked at how the D-20 performed in a variety of lighting situations. This footage was closely followed by material shot that day, by DoP Dana Christiansaan in the desert of El Mirage, California. The D-20 was attached to a gyrostablized head on an Ultimate Arm, which was mounted to a car. The camera car tracked stunt vehicles as they carreened across a dry lakebed, putting the D-20 through rigorous speed, wind and dust conditions. The footage was projected without colour correction with many of the audience commenting on the D-20’s ability to hold highlights, even under the intense desert sun. It was also noted how the camera was ideal for this type of application as interruptions caused by driving the camera back and forth to reload film magazines could be avoided. Lovell went on to explain that ARRI are also planning to introduce an on-board recording solution for the D-20 after entering into an agreement with Grass Valley to utilize their Solid State Recorder as an on-board FlashMag. The FlashMag is a portable recording solution that can be mounted directly on the camera, freeing the D-20 from cables. “It’s a 112GB recorder which is the size of a 200 foot film magazine, but has a capacity equivalent to a 1000 foot magazine.” described Lovell. Data from the FlashMag can be downloaded to a storage system such as Sony’s HDCAM SR VTR or the S.two Digital Field Recorder disk based system for longer-term storage of images, or delivery to a post house. Members of the ASC were reassured that a digital revolution wasn’t looming simply for the sake of technology. Rather, that the D-20 represents an alternative creative choice for visual storytelling. “Even in the 1980s, people were saying that film would be dead in five years, yet film is still here,” commented Lovell. “There will still be advantages to shooting film five years from now. Film will continue to be the preferred acquisition format when its benefits are paramount, but if digital is the tool for the job, then we have a camera here for you to do it.”

D-20 TEST SHOOT in the desert of El Mirage, California

ARRI CSC Showcases D-20 at New York Cine Equipment Show The inaugural New York Cine Equipment Show (NYCES), which took place in September at New York’s Hilton Hotel, offered attendees informative seminars on filmmaking and an exhibition floor full of new and established technologies. It was a fitting place for New York rental house ARRI CSC to have the East Coast debut of the ARRIFLEX D-20. Andreas Weeber, who will supervise the Digital Imaging department of ARRI CSC, was on hand to guide attendees through the features of the camera. Visitors were able to try out the camera and test focus and depth of field, while the images were displayed on a large, high definition screen. Weeber will provide training to customers on the new D-20 technology as well as the Tornado digital high-speed camera system. DoPs Dejan Georgevich and Tom Houghton, panel members at one of the “Show and Tell” seminars that took place during the event, both had the chance to check out the camera. “What initially impressed me on ‘first looks’ was the ergonomic design of the camera, much like a film camera. Of course, having a sensor the same size as a Super 35mm film aperture is a big plus, offering the depth of field the same as 35mm film” noted Georgevich. “As a result, the picture reproduction was quite impressive, especially with the D-20's ability to accommodate 35mm film lenses allowing for better selective focus options.” Houghton shoots the critically acclaimed FX-show Rescue Me on Sony HDW-F900s. The show stars Denis Leary and follows the lives of a group of New York City fire fighters. Houghton knows the rigors of using HD well, with Rescue Me shooting on a mix of sets and on location. Houghton commented, “The new camera looked great, I think it is a further advance, particularly because we can use our very familiar 35mm lenses on the camera and the viewfinder is optical rather than electronic.” 9

ARRIFLEX D-20

D-20 Makes an Impression on UK Production Company Feel Films have become the first UK production company to use the ARRIFLEX D-20 film-style digital camera for a commercial. Over two days in late October, one of ARRI Media’s D-20 cameras went to work on a Nestlé commercial produced for Saatchi and Saatchi. The decision to shoot on the D-20 rather than 35mm was made by Producer Nick Hirschkorn, who set up Feel Films in 2004 having previously worked at Hungry Eye, Arden Sutherland & Dodd, and his own company Krygier Hirschkorn. “I’ve always shot on 35mm – it’s just something I’ve always done, for the last ten or fifteen years”, says Hirschkorn. “But we are increasingly involved in a lot of digital post-production here as well; we’ve been buying in a lot of gear. Obviously I can see the advantages of shooting on a digital medium that gives the same quality as film, and being able to bring footage straight back the same evening and download it.” Hirschkorn had shot with HD on a previous shoot in LA, using a Sony HDW-F900, and was impressed with the results. It had taken some effort and adaptation, however, to gain the control over depth of field that he was looking for, in order to emulate the look of film. He subsequently heard about the D-20, with its rotating shutter, optical viewfinder and film lenses, and spoke to ARRI Media straight away. “I wanted to use it on anything I could get it for, as quickly as possible, just to test it out really. This particular job came up and there were a number of reasons why the D-20 would be advantageous. Firstly because there is quite a lot of digital post that needs to be done, which means that the steadiness of the digital image is very useful to us, in the sense that there is no film weave. And secondly this was a commercial that involved children, and the fact is that children can be very difficult. You can suddenly get something quite unexpectedly, or get something when you’re telling them you’re not actually turning over. You have to use every trick in the book to get a good performance out of kids.”

NESTLÉ commercial

produced by Feel Films for Saatchi & Saatchi

Shooting on tape rather than film allowed the crew to continue rolling in the hope of catching an unpredictable but perfect moment. “So that was a double advantage – it has natural technical advantages, and also creative advantages. It saved us time in the sense that you’re not stopping to reload or check the gate, but also it allowed us to keep running when normally you wouldn’t roll.” DoP David Johnson was very happy with the camera, and quickly became a D-20 convert. “The big issue, really”, asserts Hirschkorn, “is the way the lenses work in association with the chip, because normally it’s getting control of the depth of field that’s the difficult thing, yet with the D-20 it was quite natural, because the camera acts like an ARRI film camera. I think it’s important for people to realise that although it’s a new bit of kit, it doesn’t 10

take crew a couple of shoots to get used to this camera, it takes them an hour or so. While we were setting it up and the camera crew were getting their briefing on how things were going to work, it became obvious that it’s a natural crossover. Overall it was really seamless.” Pleased with the results of his commercial, Hirschkorn is now intent on testing the D-20 for two upcoming features. “I would encourage people to use it if they asked me”, he concludes. “The savings in many different areas are great – not just financial.” The D-20 is now exclusively available for hire from ARRI Media London, ARRI Rental Munich and ARRI CSC New York. An Tran/Mark Hope-Jones

For further details about the ARRIFLEX D-20 contact: ARRI Media London Bill Lovell T: +44 1895 457 100 E: blovell@arrimedia.com ARRI Rental Munich Andreas Berkl T: +49 89 3809 1303 E: aberkl@arri.de ARRI CSC New York Andreas Weeber T: +1 212 757 0906 E: aweeber@cameraservice.com

VISIONARRI

arlier this year, Illumination Dynamics expanded their Californian facility with the creation of an Automated & Theatrical Lighting Division. This exciting new development for the constantly evolving subsidiary of ARRI CSC was made possible by the arrival of industry veteran Mark Rudge, who heads the new department. Mark brings with him an extensive background in all aspects of theatrical and music lighting along with an outstanding reputation amongst industry professionals, having not only worked extensively in rental but also as a freelance lighting designer. Mark’s new inventory includes a complete range of state-of-theart luminaries, control consoles, specialized lighting (inc. LED technology), dimming and control systems, truss and rigging equipment.

It’s Automatic Illumination Dynamics launch Moving Light Division

“I am very pleased to have joined Illumination Dynamics – a company that has always impressed me with customer service that is second to none,” says Mark. “ID’s Automated Lighting Division caters to the Television, Corporate, Special Event and Motion Picture industries by providing turnkey systems, including programmers and technicians if required. We have started from the ground up with brand new gear. Customer service is the key. Both ARRI CSC and ID are very supportive of this new venture and have committed to provide the best equipment and service possible. With many of ID’s entertainment industry clients requiring automated lighting, this is the natural move for the company.” In addition to its new Automated & Theatrical Lighting Division, Illumination Dynamics offers a complete line of lighting, grip, generators, power distribution and HVAC, - as well as planning, engineering, permitting, installation and technical support. Carly Barber, President of Illumination Dynamics reflected: “Illumination Dynamics has big show experience and resources, while retaining our dedication to all aspects of customer support and quality. Moving into automated lighting was a natural step for us, because – as part of the ARRI Group – we strive to offer the newest and most advanced products. We can now provide our core customers in the film, television, broadcast and special events industries with all their lighting requirements – both conventional and automated – along with the full-service support of generators, power distribution and grip equipment.” Simon Broad

MARK RUDGE, Head of the Automated and Theatrical Lighting Division

DI FROM

START TO FINISH Digital Intermediate and the new Lustre Grading Suite at ARRI After completing one of Europe's most modern sound mixing studios in 2002, ARRI undertook the construction of a new project for the postproduction of features: a state-of-the-art colour-grading studio for the Digital Intermediate (DI) process was recently opened at the Munich facility, featuring cinema-quality projection and seating for twenty. Thus a strategic and service oriented postproduction concept became reality: A large screen and a 2K Barco projector allows clients to optimally colour-grade their films under ‘film theatre’ conditions. ARRI began to move beyond the HD track for digital colour-grading with the release of the ARRISCAN in 2004. The workflow for high resolution post-production of the highest creative and technical standards is now carried out entirely on a digital 2K/4K platform. Digital Intermediate with Lustre Technology

for film grading. It also can work with 3D lookup tables in realtime. “This means that the colour rendering as it will be later seen on film can be simulated ‘on the fly’, in realtime. To phrase it differently, the client can see from the start how the film recorder and raw stock will react in the final stage of the post-production chain. Since digital projection and film projection are closely matched, we can see exactly what the end result will look like,“ Henning Rädlein promises.

The new colour-grading studio at ARRI Munich is equipped with the Lustre software from Autodesk. This colour-grading software is based on the printer lights of the traditional lab and enables the seamless combination of various media and materials. “The processing is done with the same red, green and blue lights as in the traditional process” explains Henning Rädlein, Head of ARRI Digital Film. “However, the Lustre software also permits selective work on specific areas in the frame, or over time, and thereby achieves a much higher level of precision. There is no need to correct the entire scene or frame – one could easily correct the saturation or just individual colours in a particular scene. Another great advantage of Lustre is that you can immediately see the results in a preview mode, and the result is reversible, i.e., you can ‘correct, preview, undo’, until the client is 100% satisfied.” While cinematographers are certainly well versed in traditional colour grading, this digital variation of that process is more precise.

High End Colour Grading in the ‘Lustre Suite’ Colour grading in the Lustre Suite is performed under real cinema conditions. The Lustre Suite is 80 square metres large and has seating for twenty. Clients view the results of the grading process on a 26 square metre screen served by a Barco DP 100 projector. Henning Rädlein comments:“We are often asked: ‘why the large screen and projector?’ Clearly, to approximate the film’s later projection size as closely as possible. After all, we are making feature films intended for the big screen. Therefore we want to screen the image as large as possible. The client should have the proper sensation and experience, should be immediately taken in by a projection that encompasses their entire field of view. The emphasis is ‘now’, not ‘later’ like in the traditional route, where you had to wait for a print to see the film in the correct gamma in the ARRI cinema.“ The projection screen is 5.6 metres wide and suitable for 1.85 and Cinemascope. The Barco DP 100 projector is used as a reference projector with settings specifically 12

LUSTRE SUITE in Munich

So far the new system has been employed at ARRI on the post-production of the following features, to name a few: Tristan & Isolde (Prod.: 20th Century Fox, Director: Kevin Reynolds, DoP: Artur Reinhart), Vom Suchen und Finden der Liebe (Prod.: Diana Film/Fanes Film; Director: Helmut Dietl, DoP: Jürgen Jürges), Siegfried (Prod.: Constantin; Director: Sven Unterwaldt, DoP: Peter von Haller), Der Fischer und Seine Frau (Prod.: Constantin; Director: Doris Dörrie, DoP: Rainer Klausmann), NVA (Prod.: Boje Buck; Director: Leander Haussmann, DoP: Frank Griebe). Currently The Robber Hotzenplotz (Prod.: collina Filmproduktion, Director and DoP: Gernot Roll) and Organize Isler (Prod.: BKM Film; Director: Yilmaz Erdogan, DoP: Ugur Icbak) are in the Digital Intermediate processing at ARRI Munich.

DoP FRANK GRIEBE and Director Leander Haussmann

Theatre Projection or Monitor? ARRI digital colourist Rainer Schmidt notes that sometimes clients who work this way the first time have problems with the difference between a lightemitting source like a monitor, and the illuminated, reflective screen, because so far they had to work on a monitor only. For years it wasn’t even technically possible to render images on screen and on monitor identically. Only now has this become feasible with the Colour Management System (CMS) that was developed by ARRI and is now in use at the new facility.

VISIONARRI

“I WAS AMAZED, FASCINATED AND IMPRESSED BY THE INEXHAUSTIBLE CREATIVE OPPORTUNITIES THIS SYSTEM OFFERS…”

Advantages in Workflow – Precise and Effective Apart from the digital primary correction, e.g. accurate colour shading, variable saturation, adjustable gamma, black and white values, the secondary step allows specific areas in the frame to be easily and quickly modified with so-called shapes. “You simply create the desired shape with a few mouse clicks,” digital colourist‚ Utsi’ Martin explains. “This way oval, triangular or rectangular shapes, even complex hand drawn masks, can be crossfaded and animated during the shot. Think about the shape of a certain object or of a face.” Henning Rädlein continues: “To stick with this example: you can change a person’s face, give it a different colour, even make it smaller; basically everything can be shaped dynamically. The advantage: you can see this mask right away, subtract it from the background, or combine several shapes. If you don’t like it – no problem, just undo it. It works in quite a similar fashion as in Photoshop on your computer. It is also possible to perform a secondary colour-correction by modifying only a specific colour or colour-range.“ ARRI Defines the Digital Future As far as marketing is concerned, Henning Rädlein points out that ARRI is making a statement with the digital grading suite and is sending a signal for in-house activities as well. “We won’t wait until nobody wants to go the traditional post-production route anymore, because we see where it is heading. In the future colour-grading for most features will be done in theatre-like digital grading suites. Today we are already able to offer this setting to our clients – with a projector and a big screen”, says Josef Reidinger, Head of ARRI Lab. The Master-Station as a Colour-grading Theatre All ARRI Lustre stations are networked together and have 26 Terrabyte total storage capacity. “Theoretically, we could work on five feature films of 100 minutes each and with 2000 edits. We don’t do that, but we do keep completed films on the drive for some time, since subsequent short edits are often necessary for television or foreign distribution. And then there are the trailers and teasers, which the system creates more or less automatically once we enter the EDL,” explains Henning Rädlein. This also offers a decisive quality advantage: There is no need to duplicate the final print to edit it into a trailer. “Trailer, teaser and all versions of the film have the same quality and appropriate colour timing as the release print. There are no

second and third generation prints of increasingly diminished quality. This is a very important point, since the trailer is often one of the film’s most important advertising tools, and it should not be of less quality than the film itself.” Considering the future, the collaboration with ARRI and the digital post-production at ARRI Digital Film, Cinematographer Frank Griebe, who experienced digital colour-grading at ARRI on Boje Buck’s feature NVA, sums it up: “I was amazed, fascinated and impressed by the inexhaustible creative opportunities this system offers, opportunities that simply did not exist with traditional colour-grading in a film lab. Grading on a big screen with the 2K projector offers a completely new and amazing way of working.” Frank Griebe´s first opportunity to work on a Digital Intermediate in the new grading suite with the Lustre system and 2K projection was the grading of Boje Buck’s NVA with colourist Traudl Nicholson. He was amazed and said tells: “That’s why I’m looking forward to my next project as DoP, the Constantin Film production Perfume: The Story of a Murderer with Director Tom Tykwer, where digital colour-grading at ARRI is already scheduled.” Jochen Hähnel

THE STORY OF A MURDERER From June till October 2005, a number of Master Prime prototypes were used by Cinematographer Frank Griebe (Heaven, Run Lola Run) on the feature film Perfume: The Story of a Murderer, which were provided by ARRI Rental Munich in addition to camera, lighting and grip. This film is an adaptation of the book by Patrick Süskind that has sold over 15 million copies worldwide and has been translated into 42 languages. Shot on location in Germany, France and Spain Perfume is directed by Tom Tykwer (Heaven, Run Lola Run) and produced by Bernd Eichinger (The Fantastic Four, Nowhere in Africa, The Name of The Rose). It is a Constantin Film production, starring Dustin Hoffman, Corinna Harfouch, Alan Rickman and Ben Whishaw. It is the story of Jean-Baptiste Grenouille who develops a superior olfactory sense, which he uses to create the world’s finest perfumes. His work, however, takes a dark turn as he commits horrid crimes in search of the perfect scent. Cinematographer Frank Griebe started out with just a few of the first Master Prime prototypes, but liked them so much that he requested to have the remaining focal lengths immediately sent to the set when they became available. He notes: “I am very excited about the speed, resolution and brilliant image quality of the Master Primes! The large selection of focal lengths, the pleasant focus behaviour and the sharpness cannot be beat by any other lens. I also appreciate the perfectly round iris, which provides an organic feel for this historical feature. In my opinion, these are the lenses of the future.” Presently, Griebe’s first unit is shooting with an almost complete set of 11 Master Primes to complement the ARRICAMs, 435 and 235 cameras. 14

VISIONARRI

We were lucky to reach Christian Almesberger, 1st Camera Assistant on Perfume: The Story of a Murderer, who was on his way to a location in Spain while talking to us on his cell phone. MARC SHIPMAN-MUELLER: Christian, what is your impression of the Master Primes? CHRISTIAN ALMESBERGER: The Master Primes are spectacular. We shoot most of the time with the 27, 50, 75 and 100, but having all those different focal lengths is fantastic. It was a good idea to develop all 12. Having this huge spread of lenses, with all the in-between focal lengths, is a great advantage for us, and we have used and needed all of them. As you know, Perfume: The Story of a Murderer is a historical film, and that often limits where we can put the camera. Sometimes we simply cannot move the camera any more forward or backwards, and to be able to then put on the perfect lens is great. For this kind of film all those different focal lengths make a lot of sense.

Why were the Master Primes chosen? Tom and Frank (Director and Cinematographer) chose these lenses for a variety of reasons, but two things they really liked were the nice out of focus highlights and their resistance to flare. The out of focus highlights are important for a certain image quality, a soft, natural looking image. And the resistance to flare is also very important for us. We have some complex CGI work that has to be done with lights actually in the frame. Having lots of flares in the lens would affect the whole frame and be a big problem. But the Master Primes are amazing. We did a lot of tests with lights that are in the shot, pointing directly into the lens. It was surprising how well the Master Primes were able to handle this. You can place soft or hard lights directly into the frame, and there are no flares. And resolution and contrast are outstanding. This will make post production much easier. MSM: CA:

CHRISTIAN ALMESBERGER,

1st Camera Assistant on Perfume: The Story of a Murderer

CINEMATOGRAPHER FRANK GRIEBE,

Director Tom Tykwer, Steadicam Operator Jörg Widmer and Camera Assistant Leah Striker follow actor Ben Whishaw with an ARRICAM Lite and Master Prime through the fields of the Provence.

How do they perform for you, as a focus puller? CA: I love the scales on the focus ring. They are really good and the numbers are very easy to see. I think it’s great that all Master Primes have the same size and front diameter and that the focus and iris rings are in the same place. I also like where the focus and iris rings are positioned, it makes working with follow focus and lens motors very easy. The whole ergonomics are very well thought out.

MSM:

I also feel that the Master Primes have a very organic focus fall off. It makes for a very pleasant image to look at, this is something I’ve always liked about the Cookes. In that respect the Master Primes perform like the Cookes, I very much appreciate this. I also think it makes focus pulling easier, there is no sharp drop off, no point when all of a sudden the image is out of focus, but rather a gentle change from in focus to out of focus. This makes my job easier, even though they are T1.3 lenses.

At what stop do you work on this production? CA: We shoot usually at T2 or T2.5, those are our standard stops at night, and we get an outstanding image quality from the Master Primes at those stops. When we shoot daylight we shoot at T5.6, and that looks equally good. MSM:

Are you using any other primes in addition to the Master Primes? CA: No. Both first and second unit use Master Primes. We have 11 Master Primes on the first unit, all focal lengths except the 65 mm, which is not ready yet, we were told, and the second unit also has some Master Primes. Why should we use other prime lenses when we can shoot everything with the Master Primes? MSM:

What cameras are you using? An ARRICAM Studio is our A camera, an ARRICAM Lite is the B camera and our Steadicam camera, we use a 235 for hand held and special rigs and an ARRI Wireless Remote System. All cameras are shooting 3 perforation. The 235 really is a handy little camera. We have, for instance, something we call the “Nose cam”. It is a 235 mounted to a parachute helmet, and the camera looks into a mirror that shows the actor’s nose. So we can shoot the nose as the actor is moving around naturally. MSM: CA:

Marc Shipman-Mueller

Bleak House A

new audience, a fresh approach; these were the driving ambitions behind Bleak House, the latest period adaptation from the BBC. Broadcast in half-hour, bi-weekly and pre-watershed sections – slots more usually allocated to soaps – the programme deliberately emulates Charles Dickens’ original method of serialised publication and targets the same kind of mainstream popular audience that bought each one-shilling monthly issue on the streets between March 1852 and September 1853. Key to the programme-makers’ desire to escape the aesthetic and cultural preconceptions surrounding period drama was their decision to shoot on HDCAM – a significant departure for the BBC. VisionARRI talks to the Producer, Director, and DoP about the experience. “A period piece is essentially about creating an illusion,” says Producer Nigel Stafford-Clark. “People had warned me that Hi-Def is so sharp it sees everything, which may not be what you want when creating an illusion. I mean, if you’re a magician on stage, do you really want a spotlight on you and everything you’re doing?” Though an experienced Producer of TV period dramas shot on film – he has two major Trollope adaptations behind him, both scripted by the peerless Andrew

Davies, making Bleak House their third collaboration – Stafford-Clark’s exposure to the HD format was limited to such warnings when he came to the project. The industry has taught him, however, not to believe everything he hears: “Anecdotal information, as often as not, proves to be wrong. You’ve got to check things out for yourself.” He knew he would need a DoP unperturbed by the prospect of shooting a period piece on HD, and this he found in Kieran McGuigan: “Kieran, from the moment he came in through the door of my office, had exactly the right attitude - he was just completely enthusiastic about it.” Justin Chadwick, the Director of episodes 1-9 (Susanna White directed 10-15), saw things the same way. He was excited to embrace the new medium, but needed to know that the cameras would effectively capture performances from his 40 principal cast members, as well as deal with the demands of a hectic 21-week shoot at various locations across southern England. Of the three, only McGuigan had experience of HD before testing commenced on Bleak House; he had lit a multi-camera commercial in Barcelona and was thoroughly impressed by the format: “All the rumours and misgivings were blown away by this experience I had with HD in Spain.”

VISIONARRI

Testing was undertaken to determine how HD would work with all the accouterments of a period drama – make-up, costumes, sets, wigs, and the rest. Though the importance of paying attention to detail was obviously heightened by the sheer clarity of the format, word back from all of these departments was that HD presented nothing they could not handle. The spotlight would not ruin Stafford-Clark’s illusion after all. In fact, the testing got a lot of the team really excited about the possibilities before them: “The results were just stunning,” recalls Chadwick:

“It was like going back to art school for all of us – the Designer, Costume Designer, Kieran and me – we were looking at these images, and the detail and richness in the frame – it was about controlling the light really, more than anything else.”

the past he has tended to operate one of them himself – McGuigan enjoyed the new dynamic this brought to his relationship with the Director: “It was a wonderful experience for me – the creative process between Justin and myself – there were times when I could say ‘look, on that line, if the actor turns his head a little into that backlight, it becomes a stronger moment’.” Having the monitor and grading tools enabled him to demonstrate to Chadwick how the light could affect performance in extremely subtle ways, and this awareness filtered through to the set. “Some of the more experienced actors, such as Gillian Anderson and Charles Dance, who knew what light does, were really playing with the chiaroscuro light we were creating. And it became a really passionate onset vibe, which for me was the overriding benefit of the HD.”

The decision was made to shoot not on one Sony HDW-750, but two, and often hand-held. This was partly down to the sheer amount of footage required from a very tight schedule, partly the freedom from budget-related stock-ratio concerns associated with film, and partly Dickens himself. “You couldn’t really shoot a Jane Austen or a Trollope with two cameras, hand-held – it wouldn’t suit the material,” observes Stafford-Clark. “But Dickens is ideally suited to that. It brings a sense of tension and pace, which is exactly what Dickens’ novels have.” Shooting with two cameras also meant being able to go for some slightly unusual shots, from angles not typically utilized on period dramas. “I didn’t want to do it in a traditional style,” says Chadwick; “the close-up, medium shot, lots of slow tracking shots – I wanted to get in there amongst it.” McGuigan assigned the two cameras quite different roles in order to bring variety and edginess to the footage: “It became a situation where Justin and I would be working hard to make sure B camera was getting material more poetic than the A camera footage. A camera was capturing the moment while B camera was trying to express the moment in a more visceral way.” One set-up he used on a number of occasions involved A camera shooting a well illuminated subject from front-on, in the conventional way, while B camera shot at 90 degrees to this and into the shadowed area, so “B camera could get a very lovely profile that had a hard rim light on it and not much detail in the shadows.” McGuigan considers fill light “unnecessary” as a rule, and did not include any at all in his package from ARRI Lighting Rental, allowing him wonderful areas of shadow to work with. “I was never going too high with the lights because I was crunching the blacks so much and people’s eyes were in shadow – I wanted to keep that little light hitting the pupils. So that was my strategy – keeping the lights quite low.”

During the early stages of filming, the crew pushed the equipment hard and did have to overcome some problems while learning where the strengths and weaknesses of HD lay. It was therefore vital, especially given the unrelenting schedule, to maintain a good relationship with their camera rental company. “ARRI Media were listening to what we were saying,” recalls McGuigan; “and adapted a few things on the camera, like making the cabling stronger, so it was a learning process.” He is also unstinting in his praise of the crew, mentioning especially his main camera operator Ian Adrian:

Shooting on HD rather than film meant being able to see footage in all its glory while it was being shot. McGuigan wanted to do as much grading as possible on set, so spent a great deal of his time in a specially constructed black tent, watching images in a controlled environment and on a very high quality HD monitor. Although sometimes frustrated by his distance from the action – when shooting with two cameras in

“Our HD experience was a very good one, I have to say,” asserts Stafford-Clark: “We were very happy with the results we got, and also very happy with the service we got from ARRI Media.” The finished product is exactly the show he set out to make, only better, he says. “I believe that if Dickens was around today, he’d look at this and say; ‘that’s the way my story should be told’, I really do.”

“I’ve got to take my hat off to them all for being so patient with the technology and gaining that confidence.” The problems were overcome quickly as the crew became expert in how best to use the medium and the cameras continued to shoot in conditions including snow and heavy rain without further difficulty.

Mark Hope-Jones

MOMENTS IN TIME A retrospective of ARRIFLEX cameras at work on milestone productions Across 110th Street The ARRIFLEX 35BL feature debut.

“IN EVERY CITY YOU FIND THE SAME THING GOING DOWN, HARLEM IS THE CAPITAL OF EVERY GHETTO TOWN” Bobby Womack’s classic funk title-track for the gritty 1972 ‘blaxploitation’ movie, Across 110th Street reverberates with the same squalid social realism that defines the film. Director Barry Shear was adamant during pre-production that only by filming in real locations could he bring a suitably raw and genuine edge to this tale of gang warfare and bloody street violence. Hollywood colleagues warned him that New York was the worst city in which to film, due to labour costs and permit nightmares - and Harlem the worst part of New York, due to its status at that time as the most lawless ghetto in the US. Undeterred, Shear took on Fouad Said, an unrivalled expert in location shooting, as a Co-Producer. Said had cut his teeth as a cameraman on the pioneering NBC TV series, I Spy, which broke new ground for American television by mixing studio work with footage shot on locations all over the world; a feat made possible by abandoning the ubiquitous but unwieldy Mitchell cameras of the day in favour of the lightweight ARRIFLEX IIC. While on I Spy, Said developed his ‘Cinemobile’, a Ford Econoline panel truck modified for the specific needs of location shooting that contained two generators, six ARRIFLEX cameras, wireless mikes, quartz and xenon lamps, dolly and track, and boasted a top deck that lifted 23’ above the roof in 18 seconds to function as a camera platform. Said, a tenacious 5’5” Egyptian on a union-enraging one-man mission to shatter the inefficiencies of Hollywood filming practice, quickly turned ‘Cinemobile’ into a successful multi-vehicle enterprise, and by the early seventies was gaining producing credits on movies by supplying his location equipment and expertise in return for a cut of the profits.

VISIONARRI

Said found out during principal photography that the first production model of the much anticipated ARRIFLEX 35BL had just arrived in New York. Having established a long and successful relationship with ARRIFLEX over the I Spy years, Said persuaded Volker Bahnemann, Vice President of ARRI in America, to let his Across110th Street crew be the first to try out the 35BL, for a week. The camera immediately revolutionised what they were able to achieve on the streets of Harlem. It was self-blimped, weighed only 15kg (compared to 35-50kg for a blimped camera) and held its dual-compartment coaxial magazine on the rear of the camera body for perfectly shoulder-balanced hand-held shooting. “It’s a real winner”, affirmed DoP Jack Priestly at the time. “It’s as quiet as a church mouse and has great flexibility, especially as it weighs only 15kg. I don’t know what I would have done in a lot of spots without it – especially in those small rooms where we

often had to shoot. You put it on your shoulder and walk around, bend down, sit down, hold it in your lap – everything. I think it’s going to help the film industry tremendously.” Shooting in Harlem proved less intimidating than expected – the only trouble came when tough locals hired as ‘extras’ to protect the production fought amongst themselves. In general the local population were fascinated by the presence of the crew and turned out in large numbers, often applauding the explosive action. One week with the 35BL proved it to be such a valuable tool that Said negotiated keeping the camera for the last four weeks of filming. It allowed the crew to shoot sync-sound in the most cramped and inaccessible of locations, as Priestly commented: “We shot in police stations and tenement houses and bars and apartments and what I guess you’d call ‘houses of ill-repute’. The areas were small, dingy and dirty, with rats running around and junkies sleeping in the hallways.” 19

MOMENTS IN TIME

“THE LOW NOISE LEVEL OF THE ARRI 35BL PERMITS SHOOTING SOUND SEQUENCES IN CONFINED QUARTERS, THUS ELIMINATING THE POST-DUBBING OF DIALOGUE THAT IS USUALLY NECESSARY UNDER SUCH CONDITIONS.” FAST ACTION sequence filmed with ARRIFLEX 35BL DoP JACK PRIESTLY on the rooftops of New York with camera

Utilising the 35BL in conjunction with one or two other IIC cameras in these small locations often meant having to use longer lenses, in order to keep the Operators out of each others’ viewfinders. This, coupled with the low light levels and fog/diffusion filtration combo, meant focus headaches in scenes depicting fast-moving action such as fist fights and gun battles. Fortunately, mentions Priestly; “we had a First Assistant named Fred Schuler who is really excellent at following focus and he kept it all pretty sharp.” The film proved to be a fertile breeding ground for talent - Schuler would go on to DoP for Directors including Martin Scorsese and Brian De Palma, while Second Assistant Jim Contner had a prolific career as a DoP and Director in front of him.

Camera Operator Sol Negrin, later to become a highly respected DoP, reported of the 35BL: “It was used in major sound sequences shot in confined quarters where it was impossible to use a large camera, but where we needed portability and quietness. We also used it on the rooftops of buildings in Little Italy – buildings that had no elevators. The low noise level of the ARRI 35BL permits shooting sound sequences in confined quarters, thus eliminating the post-dubbing of dialogue that is usually necessary under such conditions.”

A combination of Fouad Said’s radical location skills and ARRIFLEX’s ground-breaking technology allowed Shear’s dream of a realistic backdrop for his story to be accomplished. A staggering 95% of the movie was shot on a total of 60 different interior and exterior locations in Harlem. Said eventually sold ‘Cinemobile’ to invest in the oil industry and became a multi-millionaire venture capitalist. Joachim Gerb and Erich Kaestner of the Arnold and Richter Company were awarded a Scientific and Engineering Award at the 1974 Academy Awards for the development and engineering of the 35BL. Volker Bahnemann still represents the company in America as President of ARRI Inc. while rental division ARRI CSC New York continues the fifty year tradition of supplying cutting edge cameras – ARRICAMS, 435’s and 235’s - to imaginative filmmakers. Mark Hope-Jones

VISIONARRI

Robber Hotzenplotz The Creation of a German fairy tale On Set with The Robber Hotzenplotz The devoted and carefully realised film version of the legendary classic by author Otfried Preußler starring Armin Rohde, Christiane Hörbiger, Martin Stührk and Manuel Seitz arises from the quirky nature of the story’s characters: A thief that begins his thievery punctually each morning and with equal punctuality takes his mid-day break, a wizard who flies on a magic cape but, despite all of his powers, cannot peel potatoes, a fairy who worries that her beauty will fade, and a country sheriff who solves his cases with the help of a clairvoyant who herself has transformed her dog into a crocodile.

We wanted this story to be told with a big cast, unusual scenery, spectacular costumes and many special effects, and that is exactly what we did,” beams Ulrich Limmer, Producer and Co-scriptwriter, whose successful family entertainment films include The Sams and The Sams in Danger. “ I am especially happy about the way everyone on this team, from our outstanding actors to our technical crew, got personally engaged and had their hearts in their work.”

ROBBER HOTZENPLOTZ

“I’M KNOWN FAR AND WIDE FOR STEALING WHAT CATCHES MY EYE” brags the great Robber Hotzenplotz.

The film is a co-production of Ulrich Limmer’s Collina Filmproduktion GmbH and the film’s distributor, Constantin Film. Funding was also provided by the FFF (FilmFernsehFonds Bavaria), the FFA (German Federal Film Board), the BBF (Bayerischer Banken Fond) and the BKM (Federal Government Commissioner for Cultural and Media Affairs). Limmer was able to win over the experienced and successful Gernot Roll to be the project’s Director and DoP. Together with his crew, Roll approached the project with great enthusiasm: “For me, filmmaking is an eternal childhood.” Filmed over 42 days in the Franconian cities of Seßlach and Burgpreppach and Prague, the production used 35mm film in the 3-perforation process. Manfred Brey was entrusted with the weighty responsibility of Production Manager and he and Limmer turned to Angela Reedwisch and Walter Brus of ARRI Film & TV to support them in the

making. All the services ARRI offers were used on this production. Three 35mm 3-perforation-cameras – a 535B, ARRICAM Studio and ARRIFLEX 435 with LDS Ultra Primes and a 24–290 Angenieux Optimo Zoom as well as the ARRIMOTION system were supplied by ARRI Rental in Munich. Lighting, film lab services, scanning, mixing, an AVIDAdrenalin Suite, and of course the complete Digital Intermediate also came from ARRI. The film was colour graded entirely in 2K resolution in the Lustre/Barco suite. Gernot Roll consciously employed simple, longstanding special effects techniques to create the film’s naive, fairy tale look: stop trick, 3M reflective gels for the fairy herbs, real steam and smoke, mini explosions, doubleexposures, and numerous day-for-night shots, many of which were inspired by the long tradition of Russian and Czech fairy tale films.

THE ROBBER HOTZENPLOTZ,

with DoP Gernot Roll and Camera Operator Michael Praun (left to right)

The Robber Hotzenplotz opens in German theatres on March 30th, 2006.

DIRECTOR & DoP GERNOT ROLL

and ARRI’s Managing Director Franz Kraus, on location

JÜRGEN SCHOPPER, Digital Visual Effects Creative Director

DIRECTOR & DoP GERNOT ROLL

Credits: Producer: Ulrich Limmer Director and DoP: Gernot Roll Camera Operator: Michael Praun Gaffer: Harald Hauschildt Sound Mixer: Tschangis Charokh-Zadeh Editing: Horst Reiter VFX Supervisor / Creative Director: Jürgen Schopper Digital Colour Grading: Traudl Nicholson

with the Robber Hotzenplotz and Producer Ulrich Limmer (left to right)

VISIONARRI

Nonetheless more than 100 computer effects were also added to the film at ARRI Digital Film in Munich (Post-Production Producer: Philip Hahn), such as title and credits, blue and green screen composites, wire removals, digital matte paintings, as well as complex computer animation. However, all these digital processes were never employed just to create a ‘special effects film’ but to tell a magical story – the ‘Kasperl Theatre’ story. The sub-title of Otfried Preußler’s The Robber Hotzenplotz is ‘a Kasperl story’, underscoring the tale’s roots in the ‘Kasperl Theatre’, a classic German form of children’s puppet theatre. Indeed all characters of the typical ‘Punch and Judy story’ are there: the

thief, Kasperl and Seppl, the Grandmother, the Watchman, the Evil Wizard, the Fairy, the Clairvoyant, and even the Crocodile. But as Gernot Roll explains: “The Hotzenplotz stories have a child like naivety enabling children to explore their own imaginations. We tried to bring that naiveté to the film.” The script generally remains true to the original books but combines them to one cohesive story with all the books’ characters.

The Robber Hotzenplotz is set in a time when thieves still existed who were satisfied with stealing coffee grinders. Modernizing the story would have been the death of this film and a good fairy tale should always remain timeless.” The Hotzenplotz stories have been translated into more than 34 languages and have sold more than 4 million copies worldwide. Professor Jürgen Schopper

While the film takes some small artistic license with the original story, author Otfried Preußler enjoyed and gave approval to the film’s script. “It was our goal to retain the original story’s fairy tale quality, its playfulness, and its naivety.” Ulrich Limmer concluded

The ARRIMAX

ARRIMAX Debuts on the Feature Film Munich and Hits the Jackpot on Smokin’ Aces ARRI’s newest lighting fixture, the ARRIMAX 18/12, recently made a big impact on two high profile films for Gaffer Michael Bauman. Considered an optimum choice for productions requiring maximum light output, the ARRIMAX made its debut on Steven Spielberg’s latest production Munich, and then went on to illuminate the high-stakes comedy caper, Smokin’ Aces.

Munich is based on the true story of the 1972 Olympic massacre of several Israeli athletes by Palestinian extremists. The film follows the secret mission that followed in which Mossad agents were sent out to exact revenge on the men responsible for the killings. Munich was shot by cinematographer Janusz Kaminski, ASC (War of the Worlds, Catch Me If You Can). Starring Eric Bana, Geoffrey Rush and Mathieu Kassovitz, the production shot in Malta and Hungary. 24

Combining the variable beam spread of a Fresnel and the light output of a PAR, the ARRIMAX uses a unique reflector concept for beam control that eliminates the need for spread lenses. The optical system with its 580mm (22,8”) diameter specular, flatted reflector is adjustable and provides continuous focus from 15°– 50°. Because the ARRIMAX does not require a set of spread lenses, the shadow quality is sharper and easily cut. The fixture utilizes a lensless design and is 50% brighter than a 12K PAR.

VISIONARRI

Has Landed! For an intense scene on a boat, the filmmakers desired a dramatic look. Describes Bauman, “We had a great quality happening with the sun coming through the blinds and smoke, but when the sun went away the ARRIMAX really saved us. We placed the light at full spot on another boat 70 feet back.

“HAVING THE ARRIMAX IN TAHOE REALLY GAVE ME A CHANCE TO WORK WITH IT IN SEVERAL DIFFERENT LIGHTING ENVIRONMENTS…”

ON LOCATION in Tahoe

There were Venetian blinds on the boat and we focused the light in there from the outside. The source was so far away, there was no way I could have gotten that out of an 18K Fresnel. There were nice sharp shadows, yet the source was so small.” The ARRIMAX also got a chance to shine on the set of Smokin’ Aces, an ensemble action comedy shot by Mauro Fiore, ASC (The Island, Tears of the Sun). The film stars Ben Affleck, Alicia Keys, Ryan Reynolds and Andy Garcia. Notes Bauman, “The sun went behind one of the casinos, so we brought the ARRIMAX in and parked a car in front to hide it. We blasted it in and it worked great. Even at full spot you are getting a lot more spread than a standard 18K Fresnel at full spot.” Says Fiore, “I was impressed by the flexibility, output and convenience of the ARRIMAX. I really look forward to using it again soon.”

For Smokin’ Aces, the production travelled to Lake Tahoe, California where the Gaffer investigated other uses for the new light. “Having the ARRIMAX in Tahoe really gave me a chance to work with it in several different lighting environments that we didn't have time to explore in Europe,” says Bauman, whose credits include Good Night and Good Luck, Ray and The Island. “We used it in conjunction with an 18K Fresnel for a low sun effect. Because of the large volume of light from The ARRIMAX, the lamp can be much father away which creates more realistic shadow detail.” Taking into consideration the power and quality of the ARRIMAX, the Gaffer recommends, ”A great application for the ARRIMAX is using it to emulate the sun. To get the same amount of light as an ARRIMAX, we would have had to use a couple of18K Fresnels, which would create multiple shadows. Basically you are getting more bang for the buck with the ARRIMAX.” The new light’s power also gave some crewmembers a shock when they realized where the brightness was radiating from. “It has a quality that will be able to sell as the sun. There was a point where I had the light on full spot and Dave Emmerichs, the Camera Operator, thought the sun was hitting us,” laughs Bauman. An Tran

“THE DI PROCESS OPENS UP UNLIMITED CREATIVE POTENTIAL FOR CINEMATOGRAPHERS, IN OTHER WORDS: I AM NOW ABLE TO CREATE IMAGES AND EFFECTS THAT I COULD NOT HAVE DONE WITH THE OLD, ANALOG POST CHAIN.” DoP Ugur Icbak

Turkish

DELIGHT! Turkish Production Posts in Munich

Amongst numerous other international projects, the Turkish comedy Organize Isler is currently in post production at ARRI Film & TV in Munich. Turkish production company BKM has produced many chart topping feature films for the Turkish market and other countries around the world. ARRI was their first choice for the complete post production service of their new project, including Digital Intermediate (DI) colour grading in the new Lustre grading suite. This is the second time BKM has worked with ARRI on post production for a feature film.

Yilmaz Erdogan is Producer, Director, and protagonist in all BKM films. He is as well known in Turkey as Bully Herbig in Germany, for example, or Will Smith in the US. His Cinematographer Ugur Icbak is, in his own words “a devoted ARRI fan since earliest childhood”, and he shoots exclusively with ARRI cameras. Line Producer Birol Akbaba, who lived in Berlin before joining BKM, led the negotiations with ARRI Film & TV and worked as the liaison between production and post production. Post Production Supervisor Taner Baltaci also directs commercials in Turkey, all have worked with ARRI Film & TV on the first BKM production, which was done in conventional analog post.

Organize Isler was shot in Turkey, in and around Istanbul, in the summer of 2005 and was shot with a MOVIECAM 3 perforation camera.

VISIONARRI

Even before the start of production, BKM had decided to post in 2K because of the great creative potential of the Digital Intermediate. The decision to choose ARRI Film & TV for the Digital Intermediate work, according to Birol Akbaba, was made based on their very positive previous experience, and on the option to perform the colour grading under authentic viewing conditions in the new Lustre colour grading suite at ARRI in Munich. Cinematographer Ugur Icbak explains the advantages of the Digital Intermediate (DI) process: “I simply have many more creative options, for instance, I can work on individual frames or on complete sequences when I choose, and apply colour and light changes very selectively. Already while shooting I knew what I was going to do in DI, and I have tuned my lighting so I could further optimize the images in the process.“

cutting edge sound mixing studio “Stage One”. ARRI is creating a version in Turkish, one in German and a Turkish version with German subtitles. When asked how they found out about ARRI Film & TV, Birol Akbaba said: “Many production professionals in Turkey do not know that ARRI also offer post production services. ARRI is a well known manufacturer of cameras and scanners, but we found their services three years ago by accident on the ARRI website. This is how we first made contact with Angela Reedwisch, Key Account Manager at ARRI Film & TV, who then showed us all the different post services they offer for domestic and international productions in Munich.”

ON LOCATION

in Turkey, (left to right) Angela Reedwisch, Ugur Icbak, Yilmaz Erdogan & Josef Reidinger (ARRI LAB) on set

LUSTRE SUITE

Colourist Rainer Schmidt with DoP Ugur Icbak

HELICOPTER

prepares for breathtaking shoot over Istanbul

DoP UGUR ICBAK on set

He continues: “The DI process opens up unlimited creative potential for Cinematographers, in other words: I am now able to create images and effects that I could not have done with the old, analog post chain. And the ARRI Lustre suite with its 2K projector can show the material in the same way it will appear on movie screens all over the world. That means huge savings in time and effort - and therefore financially.” Ugur Icbak, experienced in digital colour grading from his work on commercials, also adds that “the team at ARRI supported us wonderfully, Colourist Rainer Schmidt was a pleasure to work with.” BKM used the complete range of services offered by ARRI Film & TV, starting with negative development and video dailies, all the way through to 2K scanning with an ARRISCAN, colour grading in the Lustre suite by colourist Rainer Schmidt and film recording on an ARRILASER. In addition, ARRI Film & TV provided a complex title sequence by Graphic Artist Lutz Lemke and various visual effect shots. Sound mixing was expertly supervised by Re-recording Mixer Max Rammler in the brand new,

The first contact led to the successful collaboration on the feature Vizontele Tuuba, which was shot in Turkey and posted in Munich. Angela Reedwisch, adds: “Our post production facilities in Munich are world class, and we are offering them to international productions beyond the German domestic market. Our unique ability to offer all services from script to screen under one roof, including equipment rental and complete image and audio post, is useful for many international productions. And concerning the Digital Intermediate process, we are one of the pioneers.” Post Production Supervisor, Taner Baltaci further explains why BKM found it worthwhile to make their way to Munich for posting their feature: “Even though the post production services in Turkey have developed rapidly in the last years, they can still only work in PAL or HD resolution. When higher resolutions on a film finish are called for, the local Technicians are not as versed and experienced as the specialists at ARRI. The experience, vast knowledge and competent creative input of the ARRI team was the decisive factor for us.“ Having looked at other post production companies in Europe, Taner Baltaci notes: “We have worked with many European post houses. Concerning commercials or digital post, London also has some competent offerings. However, ARRI is a leader in Europe, having a first class lab and all post production services in one facility.” The comedy Organize Isler will premiere in Turkey, Germany, United Kingdom, the Netherlands, Austria and France on December 22, 2005. Jochen Hähnel

Take

10 Olly Tellett

First Assistant Camera Olly is currently working on Danny Boyle’s latest feature Sunshine with DoP Alwin Küchler, BSC. His other most recent credits include The Constant Gardener with the DoP César Chalone, ABC, Kinky Boots as the Second Unit Operator, Proof and The Mother both with Alwin Küchler BSC. Olly is a life long Liverpool FC supporter and lives in Winchester with his 7 year old son Rafferty.

1 2 3

4 5 6 7

8 9

What film first inspired you to work in this industry? Apocalypse Now. It’s still easily in the top two of Telletts’ all time flicks. What’s your cure for the ‘morning after the wrap party’ feeling? Two large grappas and a bacon sandwich. Name three things that make you smile? My son Rafferty scoring a goal for the Winchester Juniors, under 8’s football team. The answer to question 9 with the addition of Stinky Pete for pure entertainment value. Liverpool FC beating Manchester United – guaranteed joy! First car you ever owned? Best £800 I ever spent – a champagne Volkswagen Sirocco. What’s the one thing you can’t live without? Can I split this…? On the one hand, my Le Monde bicycle. The pleasure gained from it is irreplaceable. On the other, the gentle alarm call of my son jumping on me every morning. If your life was a film, what film would it be and why? I think O Brother, Where Art Thou? – I seem to be perpetually on the move and forever searching for bathing beauties in the watermeadows. Most embarrassing moment? At work – setting a fire extinguisher off in the back of a camera car when filming The Tenant of Wildfell Hall. As the rest of the crew fell about laughing, I received my first impromptu and very informative Welsh lesson in swearing from the DoP Daf Hobson BSC. I still maintain it was an accident! In private – too many to mention and most unprintable. Who inspires you? Gruff Rhys the lead singer from Super Furry Animals for being there. Josef Koudelka for always capturing the moment and the great footballer Kenny Dalglish for just being Kenny Dalglish. Three people (living or dead) you’d most like to dine with? Ian McCullagh from Echo and the Bunnymen, Steve Marriot from Small Faces, Marilyn Monroe – you all know where she’s from and me all around one table – genius.

10 What was the last film you saw? Wallace and Gromit in The Curse of the Were-Rabbit at The Screen, Winchester. 28

Did you

know?

King Kong 1933 King Kong’s roar was created by running the combined roar of a lion and tiger backwards. It was decided that the best way to sell the idea for King Kong to RKO was to shoot a stop motion sequence, so the battle between Kong and the T-Rex was created with models 18 inches high. The executives of RKO were stunned at the results, having never seen anything like it before.

King Kong 2005 Before her death it was rumoured that Fay Wray was in negotiations to appear in the film. Peter Jackson wanted her to deliver the famous final line: “Oh no, it wasn’t the airplanes. It was beauty killed the beast.” The T-Rex has hands with three fingers (instead of the scientifically correct two) as homage to the original King Kong of 1933, in which the T-Rex also had an extra digit. This was explained by the idea that the dinosaurs on Skull Island have evolved in the 65 million years since the two-fingered T-Rex became extinct.

Troy 2004 During production Brad Pitt, who plays Achilles, had a mishap and tore his left Achilles tendon.

The Shining 1980 As Danny Lloyd, who plays Danny Torrance, was so young and since it was his first acting job Stanley Kubrick was very protective of the child. Through clever directing it was not until after the films release that Danny knew he was in a horror movie. All of the interior rooms of The Overlook Hotel were filmed at Elstree Studios in London, including The Colorado Lounge where Jack does his typing. Due to the intense heat generated by the lighting used to recreate window sunlight, the lounge set caught fire. Luckily all of the scenes on this set had been completed.

Kingdom of Heaven 2005 King Mohammed VI of Morocco gave approval for 1500 Moroccan soldiers to be hired as extras.

Metropolis 1927 Metropolis was one of the most expensive movies of its time. At around 5,000,000 marks, it nearly sent the production company UFA (Universum Film) into bankruptcy. There was no optical printing system in existence at the time, so in order to create a matte effect a large mirror was placed at an angle to reflect a piece of artwork while live footage was projected onto the reverse. To expose the projected footage, the silvering on the back of the mirror had to be scraped off in strategically appropriate places. One mistake would ruin the whole mirror. This was done for each separate shot that had to be composited in this manner. The procedure was developed by Eugen Schufftan and is known as the “Schufftan Process.”

The Interpreter 2005 The Interpreter was the first film ever to be shot inside the United Nations Headquarters, with scenes in the General Assembly, the Security Council, as well as regular corridors and hallways of the complex. The cast and crew filmed during weekends in order not to disrupt the regular working week.

VISIONARRI August – you first used prototypes of the Master Primes on a commercial back in March of this year. I understand that you were shooting with Zeiss Ultras on an ARRICAM Studio and Jeremy Sassen, your Client Contact at ARRI Media, asked if he could send down the lenses for you to try out? AJ: Actually I think I called him, begging for them! I knew they were coming some time in 2005, but I wasn’t sure when, so I kept calling and asking when they would arrive. VA:

Jeremy recalls that you tried them a little on the first day, saw the results the next day and used them a bit more, saw that footage and then used nothing but the Master Primes on the third and final day of the shoot. AJ: Yes. That’s true – I did. VA:

ON SET

What was it you liked about the new lenses? AJ: Well, first of all the speed, T1.3. Shooting interiors in a studio with low stocks, like 100ASA, for commercials, at T1.3 – they look beautiful, really easy to work with. They just gave me the opportunity to use low stocks as well as the kind of lighting I wanted. I also noticed how the focus falls off – defocusing the background was just really beautiful – different from the Ultras. I thought it started at a point and sort of kept going – it was really nice how they defocused in the background. VA:

And you’ve requested them on subsequent shoots? AJ: I think I’ve done four commercials so far. This is the fifth one, but it’s the first time I’ve tried the lenses on Super-16. VA:

WITH THE MASTER PRIMES

VisionARRI chats with August Jakobsson, the first DoP to shoot with ARRI Media’s Master Primes, on the set of his latest commercial.

So have you had the opportunity to use the Master Primes in fairly different lighting conditions? AJ: Yes – the first job I did was exterior and interior, day and night, and they were beautiful. And I’ve tried Classic Soft FX filters – shooting both with and without them and it was really nice. VA:

You’ve got the Master Zoom up on the camera at the moment. I think this is the first time you’ve tried it? AJ: Yes – the first time. I saw it at the BSC New Equipment Show though. VA:

VA:

What are your first impressions?

AJ: I like it. It’s really crisp – really sharp on the long end. We’re on 16mm today, so we’re not seeing it as crisp as it could be. Shooting with the Master Primes on an ARRICAM Studio is so easy – it’s so easy for the Focus Puller to find the focus and me to help him if I’m on a long lens and it’s a tough shot. So do you think you’ll try the Master Zoom on 35mm when you can? AJ: Oh yes – definitely. VA:

Have you had a chance to try the full range of Master Primes? AJ: After that first time I tested them, we did another job and I used all the prototype lenses available at the time. I had a 12mm Ultra Prime because I wanted something to cover for wider, but I never used it. I just stayed on an 18mm Master because I wanted to shoot the whole thing on the Master Primes. VA:

Do you see lenses as different tools then, the Ultras suitable for certain jobs and the Masters for others? AJ: Yes – you pick the lenses that are right for the job. If you want stuff to have more flare, or to look cooler, you’d pick the Ultras. VA:

So have you had a chance to experiment with how the Master Primes perform with flare? AJ: Well I’m looking forward to seeing how this stuff today looks, because I’m pointing a lot of lights into the camera and I want to see how that works. Looking through the viewfinder, it looks really good; I’m not getting anything over-flarey. I know I’ve got these massive spotlights coming down the lenses, but I like how they handle it. The other thing is that I’m used to working with filters, but I’m keeping it quite clean now, because I just want to see how the lenses work. VA:

Mark Hope-Jones

News from around the world ARRI Australia ARRI Rental Group Extends to the Southern Hemisphere The continued growth of the ARRI Rental Group has seen a new branch established in Australia. ARRI Australia is based in custom-designed facilities in North Ryde, Sydney, and will provide a fully equipped camera rental facility that includes three test bays, a darkroom and a comprehensive selection of on-set consumables.

A small team of highly skilled Technicians and Client Contacts will ensure the standards of ARRI are reflected in another part of the world.

Kate Walton joins ARRI Australia as Senior Client Contact. Kate has previously worked with Samuelsons, Panavision Australia, and spent two years as Features Client Contact at ARRI Media in London. The service team will be lead by Head Service Technician, Clive Teare, a highly trained equipment maintenance technician, familiar to many Antipodean crews. Cliveâ&#x20AC;&#x2122;s expertise encompasses all camera and lens systems. His experience as on-set camera technician on such productions as Vertical Limit and This Side of Heaven, has earned him an outstanding reputation in the industry. Clive will be supported Rey Adia, an experienced Service Technician and Trainee Service Technician Aaron George. With new federal tax incentives and various state incentives Australia is increasingly a destination of choice, offering experienced crews, an accomplished post-production sector and diverse locations. The introduction of ARRI Australia will provide Australian and New Zealand film-makers with the latest ARRI technology, service and support.

LEFT TO RIGHT, Heinz Feldhaus, Aaron George,

Kate Walton, Clive Teare, Bill Ross, Rey Adia, Clemens Danzer

ARRI Australia will also provide a full sales and service facility throughout Australia and New Zealand for camera and lighting equipment, as well as the ARRILASER and ARRISCAN.

Rentals Manager Bill Ross has more than 30 years experience and is well known in the UK and Australian film industries. Bill started his career at Samuelsons in London, and was later National Marketing Manager for Panavision Australia.

VISIONARRI

Bogard France New French Rental Associate French camera rental facility Bogard has recently become an Associate member of the ARRI Rental Group after entering into an agreement with ARRI Media London. Already an established camera rental facility with a strong reputation, Bogard was created in 1960 by Cameraman and Director of Photography François Bogard and started out supplying 16mm cameras. Now, headed by Didier Bogard, the company has become a market leader in France, offering an extensive range of film and digital cameras across a diverse range of applications. The collaboration between ARRI Media and Bogard will further extend Bogard’s inventory of 35mm cameras, allowing the company to further develop their presence in the features market, while increasing market representation of ARRI products in France. Bogard will also be the official representative in France for the ARRIFLEX D-20. To facilitate the agreement Bogard has opened a new branch comprising of 1,500 square metres in the north of Paris, close to the Luc Besson City of Cinema. The new facility will focus on film and HD while Bogard’s original branch, in the 15th district of Paris, will concentrate on renting cameras to the television market and continue to be the base for Bogard’s accessories store and production department.

BOGARD, PARIS,

Renos Louka, ARRI’s Head of Rental and Didier Bogard

BOGARD’S service department ON LOCATION in Paris with feature film Michou D’auber

NEWS FROM AROUND THE WORLD

News from around the world

Tornado Wins Award in Monaco Executives from every sector of the international sports media industry descended on Monte Carlo between the 24th and 27th of October this year for the 16th annual Sportel Monaco Market. Visitors flocked to the ARRI Media stand, where practical demonstrations and a show-reel displayed the extraordinary capabilities of the company’s Tornado system – the digital high-speed camera for extreme slow motion.

Having already proved its usefulness for narrative and promotional filmmaking at previous exhibitions, the Tornado had an opportunity at Sportel to showcase its potential as a tool for the world of televised sports. Capable of recording images at up to 1000fps, the camera transforms fastpaced action into stunningly smooth slowmotion and has already revolutionised television coverage of major sporting events including Wimbledon 2004 and the 2005 Ashes Series. ARRI representatives were delighted when UK production company Sunset and Vine were awarded the ‘Best Slow Motion – Isolated Camera Shot’ prize by Sportel, for a super slow-mo shot filmed with ARRI Media’s Tornado at The Ashes. The winning shot,

directed by Rob Sheerlock and entitled ‘Impact’, captures a cricket ball barrelling into the handle of a bat, which shudders and flexes with the force of the blow. It is an image that demonstrates perfectly the Tornado’s ability to reveal grace and fascinating detail even in moments that appear inelegant and uninteresting to the naked eye. ARRI Media congratulates Sunset and Vine for the award, and for the superb overall quality of their Ashes coverage. The Tornado digital high-speed camera system is exclusively available from ARRI Media London and ARRI CSC New York. A Tornado show-reel is available on DVD, to request a copy email: support@arrimedia.com

VISIONARRI

News from around the world

Digital Imaging New York and Munich ARRI Rental Companies Ready to Support ARRIFLEX D-20 The much anticipated arrival of the ARRIFLEX D-20 film-style digital camera has seen both ARRI CSC New York and ARRI Rental Munich establish a Digital Imaging department.

THE APPOINTMENT OF ANDREAS WEEBER AND ANDREAS BERKL UNDERLINES THE ONGOING COMMITMENT OF ARRI’S RENTAL COMPANIES

Andreas Weeber started his career with the ARRI Group in the camera department, using his knowledge and experience to train and assist the New York camera crews as they came to work with the new range of ARRIFLEX sync. sound cameras. He also worked closely with his colleagues both in the United States and Europe to ensure that the appropriate facilities and staff training were established to support the wide range of ARRI camera products. Having returned to Europe to work with the ARRI Research & Development department in Vienna and subsequently to his home town of Munich to work on the pioneering ARRICAM system, Andreas Weeber went on to develop a successful graphic design business. He is now back in New York to assist with the launch of the ARRIFLEX D-20 in the United States and is establishing a Digital Imaging department, having spent valuable time training at ARRI in Munich and ARRI Media in London. He is now planning to pass on the knowledge learnt to a team of support technicians so that the ARRIFLEX D-20 enjoys the level of service and support for which ARRI CSC is renowned. ARRI Rental Munich has appointed Andreas Berkl to spearhead their Digital Imaging department.

ARRI CSC in New York has welcomed back someone well known to many in the film industry in that city. Andreas Weeber worked at Camera Service Center (as it was then known) from 1995 until 2000, where, amongst many other things he initiated the introduction of the Quality Control department, which has since evolved into the invaluable Technical Support team.

After training at the SRT (Schule für Rundfunktechnik/ Nurenberg, Germany) as a technician/operator for broadcast television equipment, Berkl joined ARRI TV Munich (now ARRI Film & TV Services) in 1987, where as a Vision Engineer/Technical Director he ran the ARRI Television Studios. In April 2005 Berkl moved to ARRI Rental Munich to establish the new Digital Imaging department. The appointment of Andreas Weeber and Andreas Berkl underlines the ongoing commitment of ARRI’s rental companies to all aspects of customer service and ensures that those using the new digital technology for the first time, do so with the support of familiar faces backed by the resources of the worldwide ARRI Group.

ANDREAS WEEBER, ARRI CSC New York ANDREAS BERKL, ARRI Rental Munich

PRODUCT

UPDATE ARRI Zeiss Master Primes Twelve new T1.3 prime lenses that offer unequalled performance in any lighting situation, whether day or night, interior or exterior. New technology utilizing unique independent Dual Floating Elements offers extraordinary sharpness, precise edge-to-edge illumination and virtually no breathing.

FACTS Twelve lenses, ranging from 16mm to 100mm Each lens is the same size with the same front diameter of 114mm and focus and iris rings in the same position Extended iris range of T1.3 to T22 across all focal lengths Virtually no breathing due to Dual Floating Elements An improved lens coating (T*XP) provides better contrast, deeper blacks and reduces veiling flare No visible optical distortion Aspherical lens elements reduce colour fringing and offer improved image quality High precision iris leaves create natural looking out of focus highlights at all stops Built-in Lens Data System (LDS) All lenses are Super Colour Matched Reversible focus ring for easy switching between metre and feet scales

VISIONARRI

Ultra Prime 8R A new extreme wide angle T2.8 lens with a unique, fresh look. The ‘R’ in its name stands for ‘rectilinear’ and because of the rectilinear design the Ultra Prime 8R shows an extremely wide angle of view without any of the commonly associated distortion. In contrast to a fisheye lens, a rectilinear lens keeps straight lines straight and creates an image that covers the entire ANSI Super 35 aperture.

FACTS Unique look through rectilinear design: extreme wide angle, but straight lines stay straight The widest rectilinear lens available that covers the whole ANSI Super 35 image area Ultra Prime optical quality: maximum resolution & contrast. New Zeiss T*XP multi layer, anti-reflex lens coating means better contrast, deeper blacks and reduces veiling glare Super Colour Matched Aspherical front element keeps size & weight down

Hand Crank HC-1 Recreate an ‘old-fashioned’ hand cranked look easily with the Hand Crank HC-1 and any ARRIFLEX 435 Xtreme or 435 Advanced. The HC-1 attaches to the ARRIHEAD hand wheel and the rotation of the hand wheel governs the speed of the camera. Inconsistencies in speed caused by the natural movement of the human arm create a ‘historic’ effect, just like old newsreel footage. Fluid dampening means the HC-1 can be set to suit the operator and 3 gear ratios can be programmed on the display of the camera - 5, 10 or 20 frames per revolution. The HC-1 can control speed from 0 – 150 fps, forward or reverse.

PRODUCTION UPDATE

ARRI CSC Title

Production Company

DoP

Gaffer

Equipment

Serviced by

Astronaut Farmer

Warner Independent Pictures

David Mullen

Steven Litecky

Lighting & grip

Illumination Dynamics

Awake

Open Heart

Russell Carpenter

ARRICAM ST & LT 435 & 235

ARRI CSC NY

The Devil Wears Prada

20th Centuary

Florian Ballhaus

Andy Day

Camera support & Lighting & grip

ARRI CSC NY

First Born

First Born Film Works

Alex Martinez

Mike Marzovilla

535B Lighting & grip

ARRI CSC NY

Griffin & Phoenix

Griffin & Phoenix Prods.

David Dunlap

John Woods

ARRICAM ST & LT Lighting & grip

ARRI CSC NY

The Inside Man

Universal Studios

Matthew Libatique,

John Velez

3 x ARRICAM ST Lighting & grip

ARRI CSC NY

Gene Engels

ARRICAM ST & LT Lighting & grip

ARRI CSC NY

ASC

Invasion

Oliver Pictures Inc.

Rainer Klausmann

Kank

Dillywood Productions

Anil Mehta

Last Time Forever

Metropolis Films

Ivan Jordana

Pete Roseman

ARRICAM LT Lighting & grip

ARRI CSC FL

Little Children

Avery Pictures

Antonio Calvache

Russell Engels

ARRICAM ST & LT Lighting & grip

ARRI CSC NY

Margaret

Peggy Prods. LLC

Ryszard Lenczewski

Mike Marzovilla

ARRICAM ST & LT

ARRI CSC NY

North Country

Warner Bros.

Chris Menges,

Steven Litecky

Lighting & grip

Illumination Dynamics

The Sopranos

Soprano Productions, Inc.

South Beach

Paramount Pictures Corp.

Tom Priestley Jr,

Southland Tales

Cherry Road Productions

Steven Poster,

ARRICAM LT & 435 ARRI CSC NY

Kevin Janicelli ASC

ASC

Super Ex-Girlfriend SE Productions Inc.

Don Burgess,

Waist Deep

Shane Hurlbut

Bromley Productions

ASC, BSC

ASC

Elan Yaari Mo Flamm

Lighting & grip

ARRI CSC NY

2 x 16SR3 Adv.

ARRI CSC FL

Lighting & grip

Illumination Dynamics

Lighting & grip

ARRI CSC NY

ARRICAM ST, 2 x LT ARRI CSC NY 435, 235 - 3 Perf

ARRI RENTAL Title

Production

Director

DoP

Aeon Flux

Studio Babelsberg

Karyn Kusama

Stuart Dryburgh

Auf IImmer und Ewig und Einen Tag Babel Elementarteilchen

d.i.e. film

Markus Imboden

Babel Productions Constantin Filmproduktion

Alejandro Gonzalez Inarritu Oskar Röhler

Enigma - Eine Uneingestandene Liebe Es ist ein Elch Entsprungen

Neue Bioskop Film

Volker Schlöndorff

SamFilm

Ben Verbong

Helen, Fred und Ted

teamWorx

Sherry Hormann

Ich bin die Andere

Clasart Film

Margarethe von Trotta

King Kong Love Me Crazy Perl oder Picar

Big Primate Productions Olga Film Red Lion s.àr.l.

Peter Jackson Peter Gersina Pol Cruchten

Perfume: Constantin Filmproduktion The Story of a Murderer Polizeiruf 110 - Er sollte tot TV60Film

Dominik Graf

The Robber Hotzenplotz

collina Filmproduktion

Gernot Roll

Tote Hose

Dreamtool Entertainment

Simon X. Rost

The Hills Have Eyes

Fox Searchlight

Alexandre Aja

Tom Tykwer

Equipment

ARRICAM ST & LT, 535B, 435, 235, Lighting, Grip Jo Heim ARRIFLEX 16SR3, Lighting, Grip Rodrigo Prieto, AMC, ASC ARRICAM LT, 16SR3 Carl-Friedrich Koschnik ARRICAM ST & LT, 435, 3 Perforation, Lighting, Grip Thomas Erhart ARRIFLEX 16SR3, Lighting, Grip Jan Fehse ARRICAM LT & ST, 435, 3 Perforation Hanno Lentz ARRIFLEX 16SR3, Lighting, Grip Axel Block ARRICAM ST & LT, Lighting, Grip Andrew Lesnie, ACS ARRICAM ST & LT, 435,235 Markus Hausen ARRIFLEX 16SR3 Jerzy Palacz 535B, 435, MOVIECAM SL, Lighting Frank Griebe ARRICAM ST & LT, 435, 235, 3 Perforation, Lighting, Grip Alexander Fischerkoesen ARRIFLEX 16SR3, Lighting, Grip Gernot Roll ARRICAM ST, 535B, 435, 3 Perforation, Lighting, Grip Stephan Schuh ARRIFLEX 16SR3, Lighting, Grip Maxime Alexandre ARRICAM ST, MOVIECAM Compact, Lighting, Grip

VISIONARRI

ARRI MEDIA Title

Production

Director

DoP

Equipment

A Cock and Bull Story Alien Autopsy

Shandy Films

Michael Winterbottom

Marcel Zyskind

Sony HDW-750, Grip

Alien Films

Jonny Campbell

Simon Chad

Amazing Grace

ARRICAM ST & LT, Grip

Clapham Productions

Michael Apted

Remi Adefarasin, BSC

ARRICAM ST & LT

Are You Ready for Love? RFL Ltd

Helen Grace

Nick Tebbet

Sony HDW-900

Bleak House

Smallweed Productions

Justin Chadwick

Kieran McGuigan

Sony HDW-750,

Children of Men

Quietus Productions

Alfonso Cuaron

Emmanuel Lubeski

ARRICAM LT, 435, 235

The Da Vinci Code

Rose Line Productions

Ron Howard

Salvatori Totino

ARRICAMDT & LT, 435, 235. Grip

Elizabeth Virgin Queen

BBC

Coky Giedroyc

David Odd, BSC

ARRIFLEX 16SR3, Grip

Hyperdrive

BBC

John Henderson

John Ignatius, BSC

ARRIFLEX 16SR3, Grip

Life N' Lyrics

Lyric Films

Ken Williams

John Daly, BSC

Moviecam SL/Compact, Grip

Sixty Six

Working Title

Paul Weiland

Dan Landin

ARRICAM ST & LT

Sunshine

DNA Films

Danny Boyle

Alwin Küchler, BSC

ARRICAM ST & LT 435, 235 Grip

V for Vendetta

Warner Bros

James McTeigue

Adrian Biddle, BSC

ARRICAM ST & LT, 435,Grip

The Flying Scotsman

Mel Films Ltd

Douglas Mackinnon

Gavin Finney, BSC

ARRICAM ST & LT, 235

ARRI LIGHTING RENTAL Title

Production

Director

Bleak House

Smallweed Productons

Justin Chadwick

Kieran McGuigan

Mark Clayton

Amazing Grace

Clapham Productions

Michael Apted

Remi Adefarasin, BSC

Jimmy Wilson

Life N’ Lyrics

Lyric Films

Ken Williams

John Daly, BSC

Craig Davies

Children of Men

Quietus Productions

Alfonso Cuaron

Emmanuel Lubezski, ASC, AMC

John Higgins

Elizabeth Virgin Queen

BBC

Coky Giedroyc

David Odd, BSC

Tim Wylie

The Flying Scotsman

Mel Films Ltd

Douglas Mackinnon

Gavin Finney, BSC

Brandon Evans

V for Vendetta

Warner Bros

Adrian Biddle, BSC

Kevin Day

Afterlife

Clerkenwell Films

Maurice Phillips

Andy Collins, BSC

Brian Beaumont

Footballers Wives

Shed Productions

David Knight

Ian Howes

Darren Harvey

James McTeigue

DoP

Gaffer

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURES Title

Production Company

Director

DoP

Services

Vier Töchter

Claussen + Wöbke

Rainer Kaufmann

Klaus Eichhammer

Lab, TV Mastering, Sound

Appolonia Margarete Steiff

Film-Line Productions

Xaver Schwarzenberger

Lab, TV Mastering, Sound

Charleston and Vendetta

Blue Pen

Uros Stojanovic

Dusan Ivanovic

Lab, DI, Sound

The Robber Hotzenplotz

Collina Filmproduktion

Gernot Roll

Lab, DI, Sound, VFX

Es ist ein Elch Entsprungen

SamFilm

Ben Verbong

Jan Fehse

Lab, DI, Sound

Forgotten Hero

Provobis

Volker Schlöndorff

Andreas Hofer

Lab, TV Mastering

Ich bin die Andere

Clasart Film

Margarethe von Trotta

Axel Block

Lab, HD Mastering

No Snow

NFP Teleart

Robert Young

Hannes Hubach

Lab Finishing

Organize Isler

BKM Film

Yilmaz Erdogan

Ugur Icbak

Lab, DI, Sound, VFX

Reine Formsache

independent players

Ralf Huettner

Hannes Hubach

Lab, TV Mastering, Sound

Special

Hofmann & Voges

Anno Saul

Peter Nix

Lab, DI, Sound

Perfume: The Story of a Murderer

Constantin Filmproduktion

Tom Tykwer

Frank Griebe

Lab, DI

Marcus H. Rosenmüller

Stefan Biebl

Lab, TV Mastering

Wer früher stirbt, ist länger tot Roxy Film

PRODUCTION UPDATE

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALS Title

Subtitle

Filmproduction Company

Agency

Director

DoP

McDonald`s

Polly Pocket

e+p

Heye & Partner

Serge Guerand

Stafano Morcaldo

Chio Chips

Snapshot

e+p

TBWA, Düsseldorf

Dennis Gansel

Joachim Berc

McDonald`s

Inbox

e+p

Heye & Partner Fahrnholz, Junghans,

Florian Seidel

Sebastian Pfaffenbichler

Ouzo

Gute Freunde

e+p

Raetzel

Claude Mougin

Michael Schreitel

Landliebe

Diverse Spots

e+p

Leo Burnett

Raymond Bark

Joachim Berc

Vodafone

Ringuptones

e+p

J. Walter Thompson

Dennis Gansel

Daniel Gottschalk

Ferrero

Pocket Coffee Ballerina Gameboy

e+p

Xynias Wetzel Dongowski & Simon Idee & Konzept:

Dennis Gansel

Britta Mangold

Leithaus

Werner Kranwetvogel

Dieter Deventer

Südwestbank Collage, Trailer Bahrain TV

MBC / Vivafilm

MBC, Creative Services

Alexander Grinke

Chris Hof

Vivafilm

Young & Rubicam

Andreas Grassl

Mathias Fuchs

Crash/Telecine und Schnitt GAP

Springer Jacoby HH

Andreas Link

Stefan von Borbely

Stabhochsprung

Helliventures

Wüscher Rohwer Baier

Georg Dehghan

Markus Krämer

DiBa

Freeskier

HelliVentures

Wüschner Rohwer Baier

Georg Dehghan

Bill Heath

Provinzial

Jogger

Wonderboys

Ogilvy & Mather

Jean-Marc Piché

Daniel Gottschalk

adidas

+ 10

Hager Moss

TBWA

Bruce St. Clair

Manel Ruiz

Toyota

Corolla

GAP

Change, Frankfurt

Charley Stadler

Paolo Caimi

ADAC

Masseur

Mercedes DiBa

CAMERA SPECIFICATION OVERVIEW FORMATS

SHUTTER

FORWARD RUN/REVERSE RUN

NOISE LEVEL

WEIGHT (APPROX)

ARRIFLEX 16 SR3 Advanced

Standard 16 Super 16

45 - 180°

F 5 - 75fps

20 dB/A +2 dB/A

Body 4.9kg (10.8lbs) 800ft Mag 4.2kg (9.3lbs)

ARRIFLEX 16 SR3 Advanced High-Speed

Standard 16 Super 16

45 - 180°

F 5 - 150fps

27 dB/A +2 dB/A

Body 4.2kg (9.3lbs) 400ft Mag 2.2kg (4.9lbs) 800ft Mag 4.2kg (9.3lbs)

ARRICAM ST Available with 3 perforation movement