VisionARRI Magazine Issue 2 by ARRI

06/06 ISSUE 2

VisionARRI

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

THE DA VINCI CODE Interview with DoP Salvatore Totino

V for Vendetta Night shoot takes over London

The Cloud Postproduction at ARRI Film & TV

Kank Bollywood hits New York

New Products ARRIFLEX 416 Ultra 16 lenses Master Zoom

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 Kate Walton, Bill Ross T +61 2 9855 4300 kwalton@arri.com.au bross@arri.com.au AUSTRIA ARRI Rental Vienna Cameras Gerhard Giesser T +43 (1)877 6938 18 rental.moviecam@aon.at CZECH REPUBLIC ARRI Rental Prague Lighting, Grip Robert Keil T +42 023 431 3012 rkeil@arri.de GERMANY ARRI Rental Berlin Cameras, Lighting, Grip Fritz Sammer T +49 30 34680024 fsammer@arri.de ARRI Rental Cologne Cameras Stefan Weiß T +49 221 170 6724 sweiss@arri.de ARRI Rental Munich Cameras, Digital, Lighting, Grip Thomas Loher T +49 89 3809 1440 tloher@arri.de ARRI Film & TV Services, Munich Film Lab, Digital Intermediate Visual Effects, Sound, Studio, Cinema Key Account Manager Angela Reedwisch T +49 89 3809 1574 areedwisch@arri.de Director National Sales Walter Brus T +49 89 3809 1772 wbrus@arri.de Head of ARRI Lab Josef Reidinger T +49 89 3809 1339 jreidinger@arri.de Head of ARRI Digital Film Henning Radlein T +49 89 3809 1970 hraedlein@arri.de Head of ARRI Sound Bernd Clauss T +49 89 3809 1810 bclauss@arri.de

LUXEMBOURG ARRI Rental Luxembourg Cameras Steffen Ditter T +352 2670 1270 sditter@arri.de

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

NEW ZEALAND Camera Tech, Wellington Cameras Peter Fleming T +64 4562 8814 cameratech@xtra.co.nz

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 9967 5013 andros@seahorsefilms.com

RUSSIA ACT Film Facilities Agency, St. Petersburg Cameras, Lighting, Grip Sergei Astakhov T +7 812 110 2080 astakhovs@mail.ru

ARRI Media, London Cameras, Digital, Grip Philip Cooper T +44 1895 457 100 pcooper@arrimedia.com ARRI Crew, London Diary Service Kate Collier T +44 1895 457 100 arricrew@arrimedia.com 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 1 49 33 16 35 didier@bogardsa.com alain.grellier@bogardsa.com GERMANY Maddel’s Camera GmbH, Hamburg Cameras, Grip Matthias Neumann T +49 4066 86390 maddel@maddels.com HUNGARY Vision Team, Budapest Cameras, Ligthing, Grip Gabor Rajna T +36 1 433 3911 info@visionteam.hu ICELAND Pegasus Pictures, Reykjavik Cameras, Lighting, Grip Snorri Thorisson T +354 414 2000 snorri@pegasus.is

Illumination Dynamics, LA Lighting, Grip Carly Barber, Maria Carpenter T +1 818 686 6400 carly@illuminationdynamics.com IRELAND maria@illuminationdynamics.com The Production Depot, Co Wicklow Illumination Dynamics, Cameras, Lighting, Grip North Carolina, John Leahy, Dave Leahy Lighting, Grip T +353 1 276 4840 Jeff Pentek john@production-depot.com T +1 704 679 9400 dave@production-depot.com jeff@illuminationdynamics.com

SOUTH AFRICA Media Film Service, Cape Town, Johannesburg, Durban, Namibia Cameras, Digital, Lighting, Grip, Studio Jannie Van Wyk T +27 21 511 3300 jannie@mediafilmservice.com

VISIONARRI

4 SECRETS BEHIND THE ART Director of Photography Salvatore Totino talks about his experiences shooting The Da Vinci Code.

8 THE CLOUD Director Gregor Schnitzler and DoP Michael Mieke reflect on putting The Cloud through DI.

12 THE BRIGHT LIGHTS OF LONDON London’s landmarks feature in V for Vendetta.

14 THE POWER OF 416 The ARRI Rental Group introduces you to the latest Super 16 camera.

18 THE ART OF ULTRA 16 Five new super fast wide-angle primes for Super 16. 19 DID YOU KNOW? 19 TAKE 10 20 TELLING STORIES WITH COLOURS Digital or Analogue? DI Symposium 2006. 22 KANK DoP Anil Mehta discusses shooting a Bollywood production in New York.

25 LIGHTING DARK STREETS Los Angeles sets the scene for period musical.

CONTENTS

26 DRESDEN ARRI Film & TV take part in eight months of postproduction on one of the most expensive German television productions ever made.

30 ARRIFLEX D-20 Catch up on the latest activities of the D-20.

33 MEDIA FILM SERVICE South Africa’s leading equipment rental company. 36 THE MASTER ZOOM Find out about the ARRI Rental Group’s most powerful zoom.

38 ARRI STOPS FORMULA ONE IN ITS TRACKS

ARRI Film & TV work on time-slice sequences.

40 MOMENTS IN TIME Das Boot and the birth of the IIIC. 44 TIBOR SANDS, A LIFE IN FOCUS ARRI CSC reflects on an extraordinary career. 40

VisionARRI would like to thank the following contributors; Stephanie Ahlen, Mo Biddle, Susanne Bieger, Simon Broad, Andreas Berkl, Maria Carpenter, Jochen Hähnel, Mark Hope-Jones, Ingo Klingspon, Dianne Koronkiewicz, Judith Petty, Sandra Pirchmoser, Angela Reedwisch, Claus Richter, Tibor Sands, Jeremy Sassen, Marc Shipman-Mueller, Michelle Smith, An Tran, Sabine Welte, Jannie van Wyk.

46PRODUCT UPDATE 48 NEWS FROM AROUND THE WORLD 54 PRODUCTION UPDATE

SECRETS

BEHIND THE ART Director of Photography Salvatore Totino on The Da Vinci Code

First published in March 2003, The Da Vinci Code by Dan Brown has been an international publishing sensation, with sales exceeding 50 million copies to date. The story, which follows symbologist Robert Langdon and cryptographer Sophie Neveu on a 20-hour life or death chase across Europe, compellingly mixes religious and hermetic conspiracy, secret societies, art history and code-breaking within a classic suspense thriller structure. Competition to acquire the film rights was fierce in Hollywood, with Sony’s $6 million bid eventually emerging victorious. Producer Brian Grazer and Director Ron Howard were brought in by Sony to take control of the project; the two have made 15 films together and their creative partnership is a billion dollar industry. An all star cast was assembled, including Tom Hanks and Audrey Tautou in the lead roles, and Howard turned to the man who had photographed his last two films (The Missing, Cinderella Man) to transform the written words into moving images. The production shot in France, England and Scotland, with ARRICAM Studio, ARRICAM Lite, 435 and 235 cameras supplied by ARRI Media, London. This is your third film with Ron Howard. How has the working relationship and the way you communicate developed?

VA:

ST: Trust. Trust has developed over that time and our communication has continually evolved. Ron really likes to plan, to go over things and come up with a game plan that we review over the course of the shoot, so there’s a constant dialogue. An understanding has grown over the three films. He knows where I’ll go and how far I’ll go, so there’s times when he’ll say nothing at all because he trusts that I won’t do anything to hurt the film.

Howard has given you film references as visual guides on previous projects – how did you work together to decide upon the guiding principles of your visual approach to Da Vinci?

VA:

ST: References were something that we all came up with together; there’s always films that Ron will say “hey, check this out, check that out”, but generally with film references it was sort of a collaborative pool; it would be Ron, it would be the Producer, it would be myself. Certain things in films we’d watch might remind us of individual portions of our script, though maybe not in a literal way. The visual approach was something that evolved as we started prepping. We scouted Paris and a bit of London in January 2005, for filming at the end of June. That was a little preliminary scout; then we came back in April to scout everything again and over that time period ideas started to develop. It was not a predecided or easily defined overall approach, it was something that evolved out of location decisions, script revisions, the input of the actors - it was a developing idea.

VISIONARRI

DoP SALVATORE TOTINO sits at the camera as Ron Howard directs

DIRECTOR RON HOWARD with A and B cameras

DIRECTOR RON HOWARD describes a scene as Salvatore Totino is handed an S4 lens

You’ve said before that “lighting should not stand out on its own, unless you’re doing a very visual piece”. To what degree was Da Vinci a visual piece?

VA:

ST: There are definitely visual moments in it, but you know, it’s a thriller, so it was important to keep it dark and moody. I took some visual references from the photographer Brassai; I looked at his old photographs of Paris where he had a very bright light far in the background and I took a little liberty in doing that in Paris, for certain scenes. Putting a sort of angelic light at the very back of the image.

On Any Given Sunday you used a warmer lighting approach for Al Pacino’s character, in order to evoke a sympathetic audience response. Did you use different lighting approaches for different characters on this film?

VA:

I used different lighting approaches to differentiate locations rather than characters on this film. The streets of night-time Paris have a yellow look, created by the sodium vapour lighting and I thought it was very important to keep that true to life. I didn’t put any characters in different coloured light, but more the environments. For example; the interior of the Swiss Bank is a blue green colour; very sterile, cold and uninviting. That was something Ron and I discussed beforehand; we wanted it to feel slightly creepy.

ST:

“I USED DIFFERENT LIGHTING APPROACHES TO DIFFERENTIATE LOCATIONS RATHER THAN CHARACTERS ON THIS FILM.” 5

THE DA VINCI CODE

Can you talk a little about how you utilised the different cameras you had?

VA:

We had two ARRICAM Studios, two Lites, a 235 and a 435. I found that shooting sound with the Lite was fine; it’s very versatile. And the fact that the camera is lighter - you know I love to hand-hold the camera or throw it on a little jib arm, so it’s very convenient and a lot of times the Lite would be the camera I’d operate. We’d have one Lite set up for Steadicam, one Studio as the ‘A’ camera, and use both a Studio and Lite for ‘B’ camera; which I was on. I also loved the 235 and I use it a lot now on commercials. If that camera had been available to me on Cinderella Man, I would have been very happy to use it. ST:

As with your previous film, you chose to use Cooke S4 lenses on Da Vinci. What is it you like about them?

VA:

I like the sharpness of them, but also the fact that they’re not so crisp as say the MK III Super Speeds, which I used to use. I love the narrow depth of field and the fall off of the Super Speeds, but working in really low light – as we did on Da Vinci - it would have been very hard on the Focus Pullers, and I was already putting them through enough hell!

ST:

You have a tendency to get in amongst the action as a cameraman in a very physical way on your movies, whether that be on an American football field (Any Given Sunday) or in a boxing ring (Cinderella Man). Were there opportunities for a similar style of shot-making on this film? VA:

ST: The style of shot-making was different to previous films; the only similar aspect was that I used at least two cameras on every set-up, sometimes more. It was a less physical style; I tended to use a jib arm a lot more on this film whereas Cinderella Man was much more hand-held. On Da Vinci we often had one camera on a jib arm and another on a dolly, always moving. Whether that movement was very slight and subtle, or substantial; there was always movement, and always two cameras. It’s a way to keep the day moving, to get the coverage for Ron, and to ensure that we’re not all there for 18 hours.

This is the first film you have shot in Europe. How was that experience, and was it difficult leaving a lot of your regular crew in the States?

VA:

ST: It’s always a little nerve-racking when you go any place without your people. I had worked a lot in Europe on commercials and I do travel a great deal, so although I was nervous, I didn’t think it would be a problem. Shooting in France was challenging because we had to submit lighting diagrams and camera positions to the city authorities almost three

VISIONARRI

“THE STYLE OF SHOT-MAKING WAS DIFFERENT TO PREVIOUS FILMS; THE ONLY SIMILAR ASPECT WAS THAT I USED AT LEAST TWO CAMERAS ON EVERY SET-UP, SOMETIMES MORE.”

months before shooting, which was a first for me. In England we had the best crew I ever worked with anywhere in the world – fantastic – incredible Focus Pullers, great Gaffer, great Grip. And I’ve worked in New Zealand, Australia, South America, all over America, Canada, Mexico, Greece, Italy, France and Spain. The English crew were incredible; I wish I could have taken them home with me. The Focus Pullers John Conroy and Simon Hume were the ones who were really under the gun. John was on ‘A’ camera with my Operator, and Simon was with me, and we developed a great relationship; he was contributing in a tremendous fashion. A lot of the time I was setting up lights and running to and from the camera during rehearsals, but Simon had more time to think about certain images and he came up with some really great ideas. You had the challenge of shooting in Lincoln cathedral, which doubles for Westminster cathedral in the film. How did you approach lighting such an enormous location interior?

VA:

ST: It was sort of frightening at first. First of all it’s a thousand years old, so there’s going to be some restrictions right away; and then you look at it and think “how am I going to be able to control the sun?” Especially in northern England, where the clouds are always moving and the sun is in and out, in and out. We worked a ten hour continuous day on the film, so I was very concerned about keeping things moving

without delays. We had to come up with a game plan that would control the sun, allow me to light the interior in a consistent fashion and not restrict us. The solution was a series of black-outs on high windows and lower stained glass windows, and a sort of curtain system, so we could lower black-out material to keep the sun out and put up our lighting. Unfortunately the ground all around the cathedral is not sufficiently stable to support cherry pickers because of the catacombs and cellars, so we needed extra time to build scaffolding and in the end it looked like it was under construction for a rebuild. The film was put through a Digital Intermediate process in post. What are your experiences and thoughts regarding DI?

VA:

ST: I’ve used the same Colourist at EFILM in Hollywood for the DI on three films and it’s a really important working relationship for me. I like to be there for the grading, and the reason is that on the day of filming, I might forego doing something on set for the sake of saving time if I know that it will be easy and quick to take care of it afterwards. It’s an added paintbrush, and it’s something to embrace. I can see why some cinematographers are cautious about DI, because they’re worried that they might easily lose control; that someone from the studio might go into the grade and not like the way it’s looking, and actually change it. Well, I think you have to trust your relationship with the Director and believe that he won’t let that happen.

Mark Hope-Jones

THE CLOUD Disaster strikes as a murderous black cloud threatens millions of people with radioactive fallout after a meltdown at a nuclear power plant. The fear and panic among the population, the lies and attempts at deception from politicians are all portrayed in a story reminiscent of the nuclear reactor catastrophe in Chernobyl 20 years ago.

Director Gregor Schnitzler (What to do in case of fire?, Soloalbum) picks up the controversial topic of atomic energy in the feature film The Cloud, based on Gudrun Pausewang’s bestseller by the same name. The story focuses on two young adults who have to leave their hometown because of a nuclear meltdown, finding hope in their love for each other during their struggle to survive. The film was shot on 35mm Kodak Negative Vision2 (100T, 200T, 500T and 250D) using 3-perforation cameras from ARRI Rental Munich, including two ARRICAM Lites, an ARRIFLEX 235 and ARRIFLEX 435, as well as a complete set of Cooke S4 lenses (14mm-135mm). “During the entire project we had the full support of ARRI and its fantastic and highly qualified employees – throughout the shoot in particular, from ARRI Rental and Managing Director, Thomas Loher, and from Technical Director Manfred Jahn,” says DP Michael Mieke. “Not least because of that, the entire shoot, and the following postproduction at ARRI in Munich went smoothly without a problem.” continues producer Markus Zimmer.

Storytelling with Colours Colours play a central role in the film and were selected as a stylistic tool, to communicate the carefree feeling of life before the disaster and the oppressive, claustrophobic situation afterwards. For the Producers, the Director and the DP it was clear from the beginning, even in the planning stages, that the entire film was to be put through Digital Intermediate (DI). One of the reasons for proceeding digitally was the advantage of better integration of the VFX shots, in this case the threatening nuclear clouds, which had to be animated in 3D and inserted into the film. “I consciously worked with specific colours and contrasts which became increasingly softer or stronger. For the beginning of the film we used stronger colours; the young adults wear yellow, orange and light blue. After the catastrophe, the colours are reduced to black, blue and red. The entire look, therefore, had to be optimally realized with the help of colour timing in Lustre,” explains Director Gregor Schnitzler.

VISIONARRI

ON LOCATION during shooting of The Cloud DIRECTOR GREGOR SCHNITZLER and DoP Michael Mieke

The concept was for the camerawork to be inconspicuous and to have a strong touch of realism, with the look fully determined by dramatic composition. The creative approach in the film follows the natural light, as the clouds darken the sky and the earth underneath. This makes for a discreet, almost unnoticeable, creeping change of light, thereby creating the mood. In the film this is symbolized by the time after the nuclear accident.” says Gregor Schnitzler and Michael Mieke. “We shot mostly in Bavaria with gorgeous sunshine, under an almost constantly blue sky. But the story is set in Hesse and therefore the Alps, which in some cases could be seen in the background, had to be eliminated during DI and the blue sky had to be replaced with dark, threatening clouds. We generated the gloomy look and the outdoor threat after the meltdown entirely in the postproduction process through digital colour grading. Because the film is very naturalistic, those qualities could under no circumstances jump out, which we accomplished exceptionally well,” says Gregor Schnitzler.

“WE COULD PRE-VISUALIZE THE LOOK AND VIEW IT ON THE BIG SCREEN IN THE LUSTRE SUITE AND IMMEDIATELY SEE THE FILM THE SAME WAY IT WOULD LATER BE SEEN IN THEATRES.”

The different formats for subsequent TV and DVD exploitation were an additional argument for utilizing the digital route. Accordingly, the HDTV mastering for the formats 1:2, 35 and 1:1,78 was carried out at ARRI.

THE CLOUD

Digital Colour Ttiming in the Lustre Cinema

The Principle of Digital Colour Timing

The artistic and creative elements were optimally realized at ARRI Film & TV, where, as part of postproduction, the colour timing and the digital intermediate process of The Cloud took place. Traudl Nicholson completed the digital grading on ARRI’s Lustre Master Station, under movie theatre conditions.

First of all, one has to compile colour references from individual scenes of the film and then determine the colour timing for them. The colour corrected scenes are then recorded onto 35mm film with the ARRILASER film recorder and a colour sample is created. A test in the ARRI cinema will then show if there are differences on the film copy to the version created in the Lustre suite. Differences can be adjusted if necessary. Then the Colourist pre-grades the entire film to steer it in the desired direction. Then, in individual steps, the film can be gradually worked through until its final version is reached. Filter and masks can be applied to work with partial and with secondary colour correction.

“We discussed various suggestions about how to accomplish the change of the natural colours. With the support of ARRI we also had the chance to try various approaches – meaning we could previsualize the look and view it on the big screen in the Lustre Suite and immediately see the film the same way it would later be seen in theatres,” says Michael Mieke and Gregor Schnitzler. “We were also told that digital colour timing on a monitor holds no comparison to working on the big screen at ARRI.” “It was great, the communication and the relationship between us and our Colourist in regards to the expectations and demands on the look of the film, worked out very well. With the help of reference pictures and scenes, which were pre-selected jointly, Colourist Traudl Nicholson could continue the colour timing on her own. This way, we were able to work quickly and efficiently.” concludes Philip Hahn, ARRI’s DI Producer & Supervisor on The Cloud, who not only co-ordinated the colour grading, but also the integration of the visual effects and the animation of the opening and closing credits created by ARRI’s Title Designer Lutz Lemke. “Lustre is simply ideal, to be able to realize the dramatic composition of colour in a film like The Cloud and to fully control it. It worked perfectly, the result is impressive.” all agreed. “The analogue process of colour timing or working ‘in camera’ – i.e. with various filters – would have involved incredible effort and would not have been as successfully accomplished.” explains Michael Mieke.

According to Gregor Schnitzler it is important, “That for each frame the ARRISCANNER is calibrated in a way, that – unlike in an HD scan – the zero value of 1:1 is really there, so that one doesn’t lose any detail of the picture, making it possible to do anything with it in postproduction.”

Shooting the Film Again in the DI Process and Taking Better Care on Set “The look, as it is known from the advertising world, is finalized at a later time in the DI process. During the work on the Lustre and the resulting, almost endless, possibilities of colour separation, the film is, in a way, shot again.” says Michael Mieke, going on to explain: “But, despite all this, it is important that during filming of the scenery, colour concepts etc. work. Because there is no generational loss during the scan and the digitalization, which would alleviate little mistakes, as was the case in analogue processing. Here everything is and stays pin-sharp. Therefore, the demands on the camera department, most of all the First Assistant, have increased significantly because the DI process and the scan are unforgiving when it comes to blurriness and mistakes. One has to use state-of-the-art lenses. Older equipment fails in this case – not least because of the film material, which has improved enormously in recent years and has adapted to the new digital demands in postproduction.”

VISIONARRI

He cautions, as many of his colleagues have before, not to look at the DI process as a cheap repair shop, “Whoever believes that everything can be fixed in post and that all mistakes made on set can be ironed out is wrong. A lot, but not everything is possible – out of focus shots can not be pulled into focus during DI, even if all the colours are being turned around.” The DP and Director agree. “Also, one doesn’t want to sit through the DI process only to fix scenery and to correct focus mistakes on the Lustre, instead one wants to determine the colour and look and to work creatively! After all, this is a valuable and very expensive time for a production,” the two pointed out.

Teamwork in All Areas “ARRI’s teamwork is always exceptional in all areas, because ARRI is extremely focused on customer satisfaction. For me, it was fantastic to grade a film on the Lustre. One walks into a suite for the first time and sees an image that is digital but looks, nevertheless, like a film image. It is simply incredible! You sit in a small theatre and can stop images and optimally colour time them. For me, as a Director, this was a new and fantastic experience. I ventured into territories here that were unknown to me until then.” says Director Gregor Schnitzler. “It is a lengthy process, because it simply takes longer to colour time a film this way, but it was great fun. And most importantly, the result is incredible.” In the future the Director and the DP of The Cloud want to continue, if possible, to work on the Lustre. “It is the technology of the present – these days you can’t even call it ‘of the future’ anymore. We would want to do it this way all over again – and especially on the big screen again!” Gregor Schnitzler was an ARRI customer with his previous films, What to do in case of fire? and Soloalbum. He concludes, “It is always my desire to work with ARRI, because many competent people work there, who take their work seriously and who love film. One can discuss questions on the highest level in a sophisticated manner, and there is a willingness to try things out, i.e. to approach a particular look

step-by-step. I have only experienced this at ARRI. I am not exaggerating, but at ARRI there is always the desire to have the best – meaning the best people with the best technology, because the employees have a true passion for film and are eager to ensure that the results are good. And that is just great and it is really hard to find.” Jochen Hähnel

Gregor Schnitzler, Director Marco Kreuzpaintner, Writer Markus Zimmer, Clasart Film, Producer Michael Mieke, DP Concorde Filmverleih, Distribution Traudl Nicholson, DI Grading Philip Hahn, DI Producer Lutz Lemke, Title Design Bianca Stumpf, Colour Timing Film Laboratory

THE BRIGHT LIGHTS OF LONDON London landmarks feature in V for Vendetta The London skyline was never brighter than when Director James McTiegue directed the recently released Warner Brothers movie V for Vendetta. Set against the futuristic landscape of totalitarian Britain V for Vendetta tells the story of mild mannered young woman, Evey (Natalie Portman - Star Wars, Episodes I-III & Closer) who is rescued from a life threatening situation by the masked vigilante known only as “V” (Hugo Weaving - The Matrix and Lord of the Rings Trilogy). Created and produced by Joel Silver and the Wachowski Brothers, the film’s main character “V” ignites a revolution

when he detonates two London landmarks and takes over the government controlled airwaves, urging his fellow citizens to rise up against the tyranny and oppression. The screenplay is based on the acclaimed graphic novel of the same name by Alan Moore and is a UK / German co-production between Warner Bros Productions Ltd and Fünfte Babelsberg Film GmbH filmed on location in Berlin and London.

VISIONARRI

Kevin explained: ”A production of this size and complexity means that there is a lot of preparation to make sure everything goes to plan. The planning took some time but on each night when it mattered it went like clockwork.” The road closures didn’t happen each night until just before midnight with strict instructions from the local authorities to have all areas cleared by 4.30am. This meant that the window of opportunity for the shoot was minimal and there was no room for error. Kevin continued, “We liaised very closely with the local authorities such as the Metropolitan Police and Westminster City Council who were informed of our plans every step of the way.” Although the majority of the film shot in Berlin, an eight day shoot took place at some of the most prestigious landmarks around London, such as Trafalgar Square, Whitehall, Parliament Square and Hatfield House. The shooting schedule saw one of the largest and logistically challenging filming operations that London has ever seen. Director of Photography Adrian Biddle BSC, with over twentyfive feature films to his name (Aliens, Thelma and Louise, 1492: Conquest of Paradise, The Mummy, The World Is Not Enough) had a vision of how he wanted the piece to look. “We tried to have a fairly dark look that came from the original comic book and reflected the dark subject of revenge and retribution and a certain kind of justice. As always there is collaboration between the costume design, make-up, the colour of the set and the lighting and you have to keep these in mind when you decide on the approach.” ARRI Media supplied the cameras including ARRICAM Studios and Lites. Adrian commented, “I found the cameras very adaptable and reliable, especially features like the swing-over eyepiece which came in very handy, we had a whole range of toys but did little steadicam and mostly stayed with dolly and crane work. The fire scene was a little tricky but if you know what you’re doing it’s not a problem.” Security was tight during the packed eight day schedule with road closures kept to a minimum number of hours in order not to disrupt the capital. Added to that was the fact that all scenes were to be shot at night, during the summer that meant that the shooting time was limited to about four and a half hours before sunrise. Timing was crucial. Adrian explained. “It is only possible to shoot such scenes as these if you have a very experienced crew. You have to light by instinct and trust each other as the time you are allotted is so small. I was lucky enough to have two very good and experienced Gaffers, Albrecht Silberberger in Germany and Kevin Day in London.” Gaffer Kevin Day and Rigging Gaffer Pat Miller have known each other for eighteen years, collaborating on features such as Bridget Jones, the Edge of Reason, Reign of Fire and Shanghai Knights (UK) to name only a few. Not unaccustomed to working on large feature films, the lighting and the rigging had to be well planned in order to run smoothly due to the sheer size of the shoot. With over five hundred extras, eighty Electricians and ninety security staff, an hour to rig and the limited allotted time to shoot the scene, the lighting department had to ensure that they were organised and ready for all eventualities.

Pat Miller explained the finer details of the planning, “The night we shot the scene at Trafalgar Square we had to ensure that we were fully prepared, a strategy was put in place prior to the shoot. We had to run it like a military campaign. Battersea power station became the holding centre for the lighting equipment, all lighting crews were then given their final briefing before travelling to the location. There were twelve generators and ten cherry pickers (pre-rigged) all numbered, each one containing two and sometimes three ARRI 18Kw HMI lamps. With a Charge Hand a team of Electricians, a Rigger, Gennie Operator and Crane Driver allocated to each one, each team had their own supply of spares including lamps, ballasts filter etc, to ensure they were self-sufficient and ready for any eventuality.” Lighting and distribution was supplied by ARRI Lighting Rental and to those standing by, the site of the ten cherry pickers with their cargo lit, slowly rising from the behind the landmark buildings made quite a spectacle. One on-looker said it looked less like a film-set and more like the invasion scene from War of the Worlds! Pat continued, “All the mains distribution was cross-linked so that at any given moment we could turn off the power to reduce the sound near the cameras and the supply could come from another generator further away, out of ear shot.” Tommy Moran, Managing Director of ARRI Lighting Rental, concluded: “As an ex–Gaffer I was most impressed with Kevin Day and Pat Miller and their crew and the enormous amount of skill they showed in the planning and co-ordination on this project. With the time constraints, high security aspect and the logistical challenges they faced, their professionalism ensured the shoot went without a hitch.” This article is dedicated to the memory of Director of Photography, Adrian Biddle BSC. Judith Petty

GAFFER KEVIN DAY, and RIGGING GAFFER PAT MILLER (right to left)

ARRI is bringing features previously only found in high-end 35mm cameras to Super 16 productions with the introduction of a new Super 16 camera, the ARRIFLEX 416.

“When many are talking about the great digital trend,” says Franz Kraus, General Manager of the ARRI Group, “some companies have perceived a kind of counter-trend in the last years. 35mm film is as strong as ever, but we have also seen an increased use of Super 16mm film. Kodak has reported a continued high volume of Super 16 sales, while showing increases in some markets, and our rental facilities tell us that their 16mm cameras are constantly working. The reason is simple: Super 16 is a high quality, low cost origination medium. The equipment is small, robust and provides a great number of creative options. Film has inherently ‘the film look’, a dynamic range in excess of 16 stops and is also a global standard that can be archived well into the future.” 14

Marc Shipman-Mueller, ARRI’s Product Manager for Film Cameras and Lenses, adds: “Various technological advances in the last years have improved the image quality of Super 16 tremendously: there have been new film stocks, new telecines, new scanners, new lenses and, of course, the Digital Intermediate (DI). We have seen producers take advantage of these developments in two ways: first, Super 16 is a great image capture medium when shooting for SD (standard

VISIONARRI

definition) or HD (high definition) broadcast. And second, independent features have shot on Super 16 and gone DI, which gives them the option to create a high quality 35mm release print. As a result, for some years now cinematographers have asked us to update the 16SR 3 with the features they use daily on our 35mm cameras.â&#x20AC;? The result is the ARRIFLEX 416, a lightweight modern Super 16 film camera with a 35-style viewfinder and a sound level similar to that of the ARRICAM. The 416 has a completely new lightweight ergonomic design, integrated electronic accessories and is compatible with the same lenses and accessories used by its 35mm siblings. It runs from 1 to 75 fps, and has a manually adjustable mirror shutter from 45 to 180 degrees.

A new RGB ARRIGLOW has been built into the 416 viewfinder, so you can choose any colour you like. Choose magenta framelines when shooting green screen, red for jungle, yellow for blue skies. The 416 viewfinder is accompanied by a video assist that has the same image quality and features as the ARRICAM video assist, with the addition of some added benefits such as colour bars, adjustable electronic image enhancement and manual white balance. Using the same optical layout already proven in the ARRIFLEX 235, the viewfinder and video assist are independent of each other. This makes a switch from handheld to Steadicam quick and eliminates the need for a 100% video top. Additionally, two 12V accessory outputs on the video assist can power an on-board monitor and a video transmitter at the same time.

The 416 Viewfinder The 416 viewfinder optics have been re-designed to incorporate fewer lens elements of a higher quality and a shorter optical path. The result is a brighter image with significantly higher contrast and higher resolution, so judging focus on set will be a lot easier. The viewfinder ergonomics are based on the ARRIFLEX 235 viewfinder, incorporating the same freedom of movement and features. With its large exit pupil, the 416 viewfinder provides the operator with more freedom to move without losing the image - a great advantage when operating hand-held or shooting action sequences. In contrast to its predecessor, the 416 accepts almost all of the large diameter 35 format primes, including the new Master Primes, because its viewfinder is located higher above the lens mount.

Sound Design The 416 uses a completely new sound insulation design that makes it as quiet as the ARRICAM. An outer shell contains an inner skeleton that is suspended by symmetrically positioned rubber insulators. The cameraâ&#x20AC;&#x2122;s movement and other parts, which create vibrations that cause unwanted sound, are mounted to the inner skeleton. The insulators prevent any sound from the inner skeleton reaching the outer shell. The symmetrical positioning of the insulators ensures that the flange focal distance stays constant so there is no change in depth from heat or cold. A brushless silent torque motor powers the 416 magazine, so there is no noisy mechanical linkage between camera and magazine. And just like the camera, the magazine consists of an outer shell with inner skeleton separated by rubber insulators, making it the quietest 16mm magazine ever built.

THE POWER OF 416

Ergonomic Flexibility Cinematographers and producers choose to shoot in Super 16 because of the flexibility provided by smaller and lighter equipment. One of ARRI’s goals has been to further increase portability, while providing many of the features crews have come to expect from 35mm cameras. The weight of the 416 has been reduced by an amazing 25% in comparison to the 16SR 3 Advanced, when comparing a configuration including body, viewfinder, IVS and magazine. Its shape has been completely redesigned to make it smaller and to give it a lower profile, while providing a cut out that fits snugly on the shoulder. To avoid all the clutter of extra boxes and cables that tend to hang off the camera, the video assist, lens motor drivers and a wireless radio can be integrated directly into the camera body – the camera then becomes an ARRIFLEX 416 Plus.

The Quietest 16 mm Camera Sound less than 20 dB(A)

35-style Viewfinder Brighter, higher contrast, higher resolution Bigger exit pupil allows more eye movement Multi-colour RGB ARRIGLOW Accommodates even wide diameter PL mount lenses Excellent optical quality with eyepiece extension

High Quality Video Assist Improved image quality Adjustable electronic image enhancement 2x 12V accessory power outputs

A new split bridgeplate means that the camera can be removed from a zoom lens/tripod configuration in two quick steps: open the lens mount, split the bridgeplate and the camera pops off. The second assistant can then dismantle the zoom lens, while the operator is already shooting hand-held.

Compact & Lightweight

Lenses

Ergonomic Design

Almost all PL mount lenses for the Super 16 and 35mm formats can be used on the 416, including the high-speed, high quality Master Primes and the Ultra Primes. In addition, five brand new T1.3 prime lenses have been developed specifically for the Super 16 format: the Ultra 16 lenses. With focal lengths of 6, 8, 9.5, 12 and 14 mm the Ultra 16 lenses further extend the Ultra Prime family. The Ultra 16 lenses are a perfect match for the 416; they exhibit the same resistance to flare as the Master Primes and give unprecedented image quality even when opened to their maximum aperture of T1.3.

Control & Power The 416 control panel should be familiar to anyone who has ever worked with a modern ARRI camera. The 416 has inherited the control panel design and illuminated buttons of the 235, so the camera can be operated without further training. The new, powerful and smart Lithium-ion on-board battery OBB-2 can run up to five magazines while keeping camera and video assist in standby for more than 2 hours. With a built-in power gauge the state of an OBB-2 can be quickly determined, and since the OBB-2 communicates with the camera, the 416 can accurately display its current voltage, remaining capacity or how many more magazines the battery’s charge can run.

The 416 Camera System The 416 is compatible with an extensive range of new and existing ARRI accessories that follow the same design philosophy used in the creation of 416 body and magazines: increasing efficiency on the set. Two new handles have been designed, one for normal and one for remote use. These include such details as a flip-up tape hook and different height platforms for Steadicam or for under-slinging the 416 on a remote head. Like the 235, the 416 has extra 3/8” attachment points with location pin holes for twist free attachment of accessories or extra secure rigging. 16

Main Features at a Glance

Small camera body Low profile design 25% lighter than 16SR 3

Ergonomic shoulder cut out Viewfinder removes quickly for Steadicam and remote applications Optional integrated radio & lens motor drivers Split bridgeplate for fast switch from tripod to shoulder

First Reactions “It’s great that a company like ARRI, which is on the forefront of digital technology with the D-20, still recognizes how valuable film is with the 416 camera. This is a terrific new product for filmmaking and for indie films, this is huge.” DoP Woody Omens, ASC

“Saw the demo at NAB2006. It’s a little smaller than the SR 3, but be prepared to drool over the viewing system.... that’s the big sell, and the ARRIGLOW even changes colour, just in case you couldn’t see your frame before when shooting that “red” scene...” DoP James West From a discussion group on Cinematography.com

VISIONARRI

“Having played with the camera for about thirty minutes I can say that it is noticeably lighter than the SR, fits your shoulder quite nicely, has a great viewfinder, is practically noiseless, and loads as simply as my old SR.” DoP Tim Carroll From a discussion group on Cinematography.com

16mm Product Range Speed Range (fps) Shutter Angle 150 Degree Shutter Angle (1) Sound (dBA) Weight (kg/lbs) (2) Viewfinder Quality Viewfinder Handling Viewfinder & Video Independent ARRIGLOW Integrated Video Assist Video Assist Quality Video Image Enhancement Integrated Accessory Electronics Lens Data Display Plug (3) Timecode Magazine Loads (m/ft) (4)

416 Plus

416

1-75 45-180°

16SR 3 Advanced HS 5-150 45-180°

Yes

<20 5.7 / 12.6 +++ +++

<20 5.5 / 12.1 +++ +++

<29 7.8 / 17.2 + +

Yes

Multi-colour

Red

Yes

+++

Yes

Yes 120/400

Yes 120/400 & 240/800

(1) For 25fps shooting with HMI, fluorescent and mercury vapor

lights in 60Hz countries (2) Body, viewfinder, loaded magazine, video assist (3) Lens Data Display can be connected to 416 Plus for lens data archive use (4) 240m / 800ft magazine should only be run up to 75fps

Five Super Fast Wide-angle Primes for Super 16 The introduction of the ARRIFLEX 416 also brings with it five brand new prime lenses that have been developed specifically for the Super 16 format, the Ultra 16 lenses. The new Ultra 16 lens set consists of five high-speed primes with focal lengths of 6, 8, 9.5, 12 and 14 mm. All cover the full Super 16 format and match the optical quality and ergonomics of existing ARRI Zeiss Ultra Prime lenses. Much of the design of the Ultra 16 lenses is based on research carried out for the creation of the Master Primes. One of the outstanding features of these new lenses, unmatched by any other lens manufacturer, is the fact that the Ultra 16 lenses are super fast at T1.3, while showing excellent optical quality over the whole T-stop range. In addition, T1.3 allows for the creation of a shallow depth-of-field, a look that is inherent in the Super 35 format, and often sought after in other formats.

The Ultra 16 lenses have the new Zeiss T* XP multi-layer, anti-reflection lens coating, which provides greater resistance to flares and ghosting, as well as improved contrast. The lenses have an exceptional resolution, true colour fidelity and their optical quality is maintained over the whole image field and across the entire focus range. The colour balance of the Ultra 16 lenses is Super Colour Matched to other ARRI Zeiss lenses, including the Ultra Primes, Master Primes, Variable Primes, Master Zoom and the Lightweight Zoom LWZ-1. Consequently, they can be easily mixed with the longer focal lengths of the 35 format Ultra Primes. The advantage of using the Ultra 16 lenses and adding Ultra Primes, starting with a 16 mm Ultra Prime, is that just one matte box is required as the Ultra 16 lenses and the Ultra Primes from 16 to 135 mm have the same front diameter of 95 mm.

The Ultra 16 lenses and Ultra Primes have exactly the same lens rings for full mechanical compatibility. The Ultra 16 lens scales are distinctly colour coded in order to avoid confusing the different lens types and have yellow scales for focus and aperture, while the Ultra Primes traditionally have white scales. The Ultra 16 lenses also have a blue ring next to the PL-mount, while the Ultra Prime barrel is completely black.

Did you

know?

The Agony and the Ecstasy 1965 Directed by Sir Carol Reed (The Third Man, Odd Man Out), this adaptation of the identically titled biographical novel was shot in both Todd-AO and Cinemascope. Charlton Heston pushed a steel rod up his nose to make it resemble Michelangelo’s broken proboscis, while Rex Harrison refused even to grow a beard for his portrayal of Pope Julius II, who was the first unshaven Pontiff.

Take

10 Dianne Koronkiewicz

The Thomas Crown Affair 1999

Assistant Camera Person

The Claude Monet paintings featured in the film: ‘San Giorgio Maggiore at Dusk’ and ‘Wheatstacks’, are not actually owned or displayed by the Metropolitan Museum of Art in New York. ‘San Giorgio Maggiore at dusk’ was bequeathed to the National Museum and Art Gallery, Cardiff, Wales in 1952 and forms part of their permanent collection. ‘Wheatstacks’ is in the Getty Museum in Los Angeles. The painting of a man wearing a dark suit and bowler hat, with an apple covering his face, is entitled ‘Son of Man’, and was painted by Rene Magritte in 1964.

How to Steal a Million 1966 Director William Wyler initially wanted to make this film as a follow up to Roman Holiday (1953), with Gregory Peck playing the male lead opposite Audrey Hepburn. Envisioning a dark and moody look for the film, he even approached Stanley Kubrick, who had recently shot The Killing (1956), for ideas. Peter O’Toole would eventually get the part instead of Peck. George C Scott was originally cast as Leland, but was fired by Wyler when he arrived late for his first day of filming. His replacement was Eli Wallach.

Diane thrives in the cement jungle of New York city working on movies and commercials, but to balance her life she likes nothing better than disappearing into the tropical rain forests of central America to escape from it all. Diane is currently working on her suntan. Her other most recent credits are Jonathan Demme’s concert feature film Neil Young: Heart of Gold and multiple television commercials.

1 2 3

Pollock 2000 Starring in and directing this biopic of artist Jackson Pollock proved so exhausting for Ed Harris that he collapsed on the set and had to be taken to hospital. Harris’s father had bought him a book on the painter, purely because he felt Ed bore a strong physical resemblance to Pollock, which prompted the actor’s fascination with his life and work. The August 8th, 1949 issue of ‘Life’ magazine which features in several shots is genuine, though the pages of the Jackson Pollock article inside are reproductions of the original, with Ed Harris’s image substituted for Pollock’s.

4 5 6 7

Lust for Life 1956 Director Vincente Minnelli had a portion of a field painted yellow to make it match the bold colour in Vincent Van Gogh’s painting.

Many of the locations used for filming were places Van Gogh really visited in his life. The colour process used for the film (Ansco Color, but labelled in the credits as Metrocolor) uses dyes that have proved to fade more rapidly than those used in other processes. Subsequently, many prints have lost the vivid colour palette of the movie’s original images.

VISIONARRI

What film first inspired you to work in this industry? Fellini´s La Strada. The perfect combination of energy and chaos. What’s your cure for the ‘morning after the wrap party’ feeling? Late night cigar bars. Name three things that make you smile? Fine wine, good cheese, spicy sopressata in good company, & progressive techno, preferably somewhere in the tropics by the sea. What was the first car you ever owned? A gas guzzling, metallic green, 1972 Plymouth Valiant. What’s the one thing you can’t live without? Two things in fact, Italian boots and Negroni beer. If your life was a film, what film would it be and why? Predator meets Afterhours, a blend of the jungle and the city. Most embarrassing moment? While on location in Manuel Antonio, having the crew tell me the second week of shooting that they enjoyed the old, red string bikini more than the new, more sporty ones I had someone make especially to work in. Who inspires you? Fritjof Capra, a physicist who has written about the parallels between ancient traditions and 20th Century physics. Three people (living or dead) you’d most like to dine with? Natalie Wood, Sander Kleinenberg and Fidel Castro.

10 What was the last film you saw? The Costa Rican premiere of Brokeback Mountain in San Jose.

Anthony Quinn’s performance as Paul Gaugin is reputedly the shortest ever to win an Oscar. He is on screen for around 10 minutes. 19

Telling Stories With Colours Digital or Analogue DI Symposium 2006 in the ARRI Cinema The following questions were addressed by ARRI experts and discussed with the audience:

When and where does digital colour timing make sense? What creative possibilities does DI offer? What are the pros and cons? What are the differences to colour timing in an analogue film laboratory? What is the cost-benefit ratio of the two types of processing? D-20: When is the use of digital cameras appropriate? The event was moderated by Angela Reedwisch, Key Account Manager of ARRI Film & TV. She also lectured, as part of the DI symposium, on prices – meaning the cost-benefit ratio of the two postproduction processes, using a 90-minute feature film as an example. But first ARRI’s General Manager, Franz Kraus, welcomed the guests to the event and provided an outlook on general developments and issues that are emerging in the international film business, not just those related to digitalization. He reported on the technical redesign of the D-20, ARRI’s digital film-style camera, of which 20 additional units are currently being manufactured for worldwide rental through the ARRI Rental Group. TRISTAN & ISOLDE,

a Scott Free Production

THE ROBBER HOTZENPLOTZ, a Collina Film Production

ES IST EIN ELCH

ENTSPRUNGEN, a SAM Film Production

ARRI Film & TV, as part of its schedule of regular informative events, co-hosted a ‘Digital Intermediate’ symposium with the German Society of Cinematographers (Bundesverband Kamera (bvk)) on March 11th, 2006 at its in-house ARRI cinema in Munich/Schwabing. “Telling stories with colours – digital or analogue” was the motto of the practice-oriented discussion of colour timing. ARRI Film & TV experts illustrated the various possible workflows in lectures and presentations with clips from current films. The pros and cons of Digital Intermediate (DI) and traditional analogue colour timing in the film laboratory were examined. The creative, artistic, aesthetic and financial rather than technical aspects were the focus of the event.

The Head of the Film Laboratories, Josef ‘Sepp’ Reidinger, moved the discussion on to practicalities; initially exploring the traditional photo-chemical route and the diverse creative possibilities of analogue colour timing, as well as how various particular processes can create unusual and interesting looks. Furthermore, he explained how analogue processing in the film laboratory and digital colour timing can be combined. “To achieve that, Lustre from Autodesk is the ideal tool to digitally complement and refine the already existing look from analogue grading. With Lustre one has almost endless creative and technical

VISIONARRI

After lunch, Henning Rädlein ran through the individual steps of the Digital Intermediate workflow and high resolution digital work environment within postproduction – from the shooting medium to the data file. He discussed all possible processing steps such as colour grading, the seamless integration of VFX shots, titles and the mixing of various recording formats, also the exploitation for TV and DVD and finally recording with the ARRILASER onto 35mm film stock. He pointed out, in reference to increasing digitalization, the relevance of digital score masters for distribution in digital theatres: “It will become more and more important to finish the entire film digitally, because when the digital theatre becomes a reality, which will sooner or later be the case, digital finishing will be a necessity, due to the fact that only digital information can be projected in digital theatres.” THE ARRI TEAM, Utsi Martin, Josef Reidinger, Traudl Nicholson,

Henning Rädlein, Angela Reedwisch, Rainer Schmidt, Jürgen Schopper (left to right)

composition possibilities,” commented ARRI Colourist Traudl Nicholson, who has extensive experience in analogue as well as digital colour timing. Josef Reidinger and Traudl Nicholson illustrated and commented on these issues with the help of clips from the following films: Der Neunte Tag (Prod: Provobis, Dir: Volker Schlöndorff, DP: Tomas Erhart), NVA (Prod: Boje Buck, Dir: Leander Haußmann, DP: Frank Griebe) as well as Der die Tollkirschen Ausgräbt, a black and white film (Prod: X Filme Creative Pool, Dir: Franka Potente, DP: Frank Griebe). “It is our goal to maintain the classical film look, even if a digital route is chosen for film finishing,” reassured Josef Reidinger. Afterwards, Rainer Schmidt, an experienced and seasoned ARRI Colourist, and Florian ‘Utsi’ Martin, a digital Lustre Colourist, discussed the colour grading on Organize Isler (Prod: BKM, Dir: Yilmaz Erdogan, DP: Ugur Icbak) and Tristan & Isolde (Prod: 20th Century Fox / Ridley Scott, Dir: Kevin Reynolds, DP: Artur Reinhart). The following films were used as additional highly instructive examples to illustrate modern colour timing: Requiem (Prod: 23/5 Filmproduktion, Dir: Hans-Christian Schmid, DP: Bogumil Godfrejów), Die Wolke (Prod: Clasart Film, Dir: Gregor Schnitzler, DP: Michael Mieke), Reine Formsache (Prod: Independent Players, Dir: Ralf Hüttner, DP: Hannes Hubach), Der Räuber Hotzenplotz (Prod: Collina Film, Dir & DP: Gernot Roll), Es ist ein Elch entsprungen (Prod: SAM Film, Dir: Ben Verbong, DP: Jan Fehse) as well as Der Fischer und seine Frau (Prod: Constantin, Dir: Doris Dörrie, DP: Rainer Klausmann). Afterwards, Markus Kirsch, Department Head of TV Postproduction at ARRI Film & TV, spoke about the state of HDTV and its future in television. As an example, the successful and multiple award-winning documentary Die Große Stille (Prod: Philip Gröning Filmproduktion, Dir & DP: Philip Gröning) followed. The film was mostly shot on 24P HDCam and was colour corrected and colour timed at ARRI. Henning Rädlein, Head of ARRI Digital Film, discussed among other things the HD tape-to-tape colour grading on Pogle OiXi and the recording with the ARRILASER onto 35mm, as well as the making of the release print in the film laboratories. Producer Jörg Schulze and Colourist Stefan Ciupek, who were in the audience, reported on stage about the shoot and the complications it faced, the linking of postproduction and the location shoot, as well as the colour grading itself, which was done at ARRI by Stefan Andermann.

ARRI offers its customers two alternatives for digital colour timing - the more cost-effective colour correction on the socalled ‘RGB’ Lustre grading station; for primary colour timing, and the ‘Deluxe Version’ on the big Lustre master station; with secondary grading. Digital colour timing can now be carried out, even in the more cost-effective primary RGB suite, under conditions similar to a theatre - on a large screen and with 2K projection. Opticals (i.e. dissolves, motion events, frame duplications etc.) will continue to be digitally processed with the primary version of the Discreet Lustre in connection with the ARRISCAN. Henning Rädlein also pointed out in his lecture the importance of analogue material for film archiving purposes. He commented: “In the U.S. most big films are being archived analogue, because digital storing is simply too insecure and therefore too dangerous. For that reason, we strongly encourage all our customers to have their film negative recorded multiple times. Kodak, for example, estimates a lifetime of 100 years for its material.” Finally, Prof. Jürgen Schopper, Creative Director & VFX Supervisor at ARRI Film & TV, made a clear and informed presentation - with the help of clips from Der Räuber Hotzenplotz - about the many visual effects (VFX) and creative tasks ARRI completed during the digital postproduction of this successful children’s movie. To sum up the conclusions of the DI event at ARRI, it can be said that there isn’t one clearly superior process in either the shooting stage or the postproduction stage of filmmaking. The technical processes and the creative possibilities constantly develop and will continue to evolve. “It will therefore continue to be an art to select the appropriate formats for recording and film finishing for individual projects. These choices involve aesthetic, technical and economic parameters, which all have to be considered and fulfilled. Producers and Directors therefore face certain demands; we, as service providers, offer the technical products and as a service to our customers, make the necessary know-how available”, concluded Franz Kraus, General Manager of the ARRI Group. Jochen Hähnel

Kank A Bollywood Production Filming in New York

Manhattan has seen many amazing things, but even the city that never sleeps was unprepared for the impact of a full-scale Bollywood production filming on its streets. Kank is the latest feature film project from Dharma Productions and stars some of the biggest names in Bollywood. Their presence at any of the New York locations and the spectators that they drew could bring the area to a complete halt, a reminder never to underestimate a film industry with an audience estimated at 3.5 billion. Kank stars the legendary Amitabh Bachchan along with Shah Rukh Khan, Rani Mukherjee, Preity Zinta, Abhishek Bachchan and Kiron Kher. It is directed and produced by Karan Johar, the son of the Dharma founder Yash Johar. Amongst the films previously directed by Karan Johar, Kabhi Khushi Kabhie Gham entered the US and UK Top 10 box office charts and had long running mainstream releases in France, Germany and Poland. Kank was shot over 70 days at 60 locations throughout New York and New Jersey. It was photographed by Anil Mehta, one of the leading Cinematographers in India. Having previously used an ARRICAM from ARRI Media in London on UK Producer Charles Salmon’s production Marigold, Anil was keen to repeat the experience when filming in New York and at Charles’ suggestion he contacted ARRI CSC. In addition to his use of the ARRICAM, Anil chose the Super 35 format, and a Digital Intermediate process in postproduction. Both of these choices are relatively new to the Indian film industry, where anamorphic is traditionally the format of choice. VisionARRI caught up with Anil back in India whilst he finished principle photography on Kank earlier this year.

“I FEEL THAT THE ARRICAM IS A VERY VERSATILE BLEND OF CAMERA DESIGNS.” VA:

Have you filmed in New York before?

Yes – in fact I have, in 2003 for another Hindi feature film Kal Ho Na Ho. AM:

VA:

What were your impressions on this occasion?

AM: New York is such an intense cataclysmic sensorium that it leaves me gasping for breath. Trying to fit a vertical city into an anamorphic frame, trying to film through changing seasons (September to December 2005), trying to create rain in subzero temperatures, trying to make a predominantly outdoor schedule work when after 4.30pm it is not even T2 – these are some of the impressions that will remain, along with the great sushi, an Ethopian dinner and the Belgian beer.

VISIONARRI

DIRECTOR KORAN JOHAR and DoP Anil Mehta (left to right)

ACTRESS PREITY ZINTA with Anil shooting from above ASSEMBLED CAST Preity Zinta, Abhishek Bachchan, Rani Mukherjee (left to right)

What are the most distinctive differences between filming in India and in New York?

VA:

The difference is that in India we plan, then let circumstances and chance take over, madness ensues and films get made. In New York we plan, distribute paper, talk methodology, distribute paper, plan some more, distribute more paper, then chance and circumstance take over, madness ensues and films get made. As long as films get made and not a Kafkaesque castle, I sleep well. Our Line Producers in New York, Anadil & Driss worked very hard to bridge the cultural gaps and make our filming possible. Joe White, our Location Manager also adapted rather well to our ‘organic’ approach. Without them New York would have been an impenetrable castle. AM:

You used an ARRICAM on Marigold prior to Kank. What drew you to making that decision? VA:

I feel that the ARRICAM is a very versatile blend of camera designs as they have evolved. I enjoy its compactness, its lightness (as the Lite), its reliability (no down time at all, on either film), it’s simplicity with the user-friendly electronic control panel and film transportation and its versatility in Steadicam or hand-held mode. For a sync. sound project it will definitely be my first choice. AM:

VA:

What lenses did you choose for Kank?

I chose the Zeiss Ultra Prime range, for the simple reason that they were the sharpest set available to me. Since the film is Super 35 and going through a DI process, I chose to stay with the sharpest image capture available to me. AM:

KANK IN NEW YORK

“I DID GET A CHANCE TO LAY MY HANDS ON SOME MASTER PRIMES… I WAS QUITE TAKEN BY THEIR VIVID CLARITY – THE IMAGE IN THE VIEWFINDER WAS A DELIGHT.”

DoP Anil Mehta

You tested examples of the new ARRI Master Prime lenses while you were filming. What were your impressions?

VA:

I did get a chance to lay my hands on some Master Primes while at work, and though I cannot claim to have tested them systematically I was quite taken by their vivid clarity – the image in the viewfinder was a delight. In addition the ability to eye focus even the wide lenses at long distances, the complete lack of breathing and the clarity of the markings were all very reassuring. AM:

You have pioneered the use of the Super 35 format. What do you see as its advantages on this production?

VA:

We have a forum in Mumbai called “The Cinematographers Combine” which has been interacting with ARRI over the years. The one thing we have not tired of repeating is that ARRI needs a direct presence in India, to support all the ARRI equipment that is the Indian market standard. Also to further develop the sale & distribution of new products and to recognize a significant market that needs to be nurtured.

AM:

With thanks to Anil Mehta and to Anadil Hossain of Dillywood Inc. of New York for their cooperation with this article.

Super 35 is being used more and more in India. It would not be right to say that I have pioneered it in any way. In fact I have probably waited for the technology to be primed before using it.

What Does “Kank” Mean?

You are also using the Digital Intermediate process in postproduction. Is this common practice in Bollywood?

Director Karan Johar is known for frequently using acronyms of his film’s titles. This is also the case here, where “Kank” stands for ‘Kabhi Alvida Naa Kehna’ – loosely translated: “Never say Goodbye”.

AM:

VA:

Digital Intermediate is still in its stabilizing stage in India, although an increasing number of films are taking this route. With Kank I will probably be scanning at 4k then down sampling to 2k, an option only recently available to us. The Digital Intermediate chain is gaining currency very rapidly in India. Almost every movie has some component of DI (titles, VFX, opticals) and increasingly features originating on the Super 16 or Super 35 format are taking the DI option (Zinda and Rang de Basanti). Also films originating on 4 perforation. anamorphic (a very popular format in India) have chosen to go DI for the “look” (Black & Paheli). The DI chase in on; the technology and those who operate it now need deliver. AM:

VA: The Indian film industry is easily underestimated. What would you like to see from a company like ARRI in terms of support for such a prolific market?

Simon Broad

VISIONARRI

he magnificent art deco buildings of downtown Los Angeles set the scene for Director Rachel Samuels’ period musical Dark Streets, a sexy tale of nightclub owner Shaz Davenport who, in the last flickering moments of his life, tries to piece together the mystery of his own murder. Produced by Glenn M. Stewart and Claus Clausen, together with Andrea Balen and Corina Danckwerts of LA based independent production company Capture Film International, the film noir musical was shot at many original landmark buildings and locations including the Los Angeles City Hall, the legendary Hollywood cemetery, the Los Angeles Theatre and Tower Theatre – both on Broadway in downtown LA.

Lighting

Dark Streets

The nightclub scenes were shot at the Tower Theatre, where Production Designer Frank Bollinger created an entire nightclub, including a stage where all the essential song and dance numbers were performed. Emmy-nominated Costume Designer Maria Schicker designed exquisitely seductive costumes for the lead singer Crystal, played by Bijou Philips, as well as magnificent period pieces for the chorus girls, dancers and the rest of the cast.

DOP SHARONE MEIR designs an overhead sequence of the dancers from the crane

THE CHORUS

GIRLS in vintage costume glow under the meticulous lighting design of Gaffer Russ Griffith

Assisting DoP Sharone Meir in achieving the visual look of the film was Gaffer Russ Griffith with a lighting package supplied by Illumination Dynamics LA. “In pre-production, there was talk of such films as Chinatown and Chicago in terms of visual feel, “ says Griffith. “Dark Streets is a story spun from a dying man’s lips and we worked very hard to convey the weight of this visually. Swing & tilt lenses, often a frustratingly slow t-stop, and wide sweeping 360-degree shots were factors that contributed substantially to the dream-like quality we were looking for. In the end, I believe we created something quite original and visually stimulating.”

It was the Tower Theatre set that presented one of the toughest rigging challenges for Griffith and his team. A vast array of lighting was used to cover an area spanning three hundred feet, which was spread over two floors. “We used practicals, fifty-four Source 4s, five MAC 2000s, two ARRI T12s, more practicals - with no lighting grid, seventy-five feet of cyc strips, even more practicals, one truss suspended thirty-four feet from the second floor, and carried out seven gel swaps for seven song and dance routines,” summarizes Griffith. “We were at this location for three weeks; our longest stay at any one location. It was by far the toughest part of the show due to time and man-power constraints but it was all made possible thanks to our Rigging Gaffer J.A. Byerly and his guys.” Another factor that added to the challenges of the shoot was the use of swing & tilt lenses. Although they lent themselves beautifully to creating the required look for Dark Streets, the fastest lens was T2.3. “Slow lenses coupled with large locations and dynamic shots made for some real lighting challenges. Everyone knows where the light should go, but what if that is in the shot, then what? We utilized practicals enormously and I was very thankful for the added punch of the ARRI lights. We had everything from little concealable 300s up to the brilliant T12s.” When choosing lighting Griffith favours the ARRI T12. “I am a zealous fan of the T12. Like all ARRI lights, it is compact and potent. This effective light was a real workhorse and a lifesaver for us on Dark Streets. I believe it will become the new industry standard”, Griffith concludes. “All in all, it was a pleasure to contribute and collaborate on this project.” Michelle Smith

Dresden Nico Hoffmann and Sascha Schwingel, Producers at teamWorx Television & Film in Berlin, have again collaborated with Roland Suso Richter, Director of successful previous teamWorx projects (Kein Himmel über Afrika, The Tunnel), for a two-part television mini-series entitled Dresden. This anti-war drama reached more than 12 million viewers on network television (ZDF), making it the highest rating TV movie on German television since 1992. The film is a co-production of teamWorx, the ZDF television network and EOS Entertainment (Jan Mojto). ZDF Executives behind the project were Heike Hempel and Günther van Endert. The project was funded by the FilmFernsehFonds Bayern, the Filmstiftung NRW, the Mitteldeutsche Medienförderung MDM and the Medienboard Berlin-Brandenburg. International distribution is being handled by EOS.

VISIONARRI

“MORE THAN 12 MILLION TELEVISION VIEWERS SAW THIS FILM - PROOF THAT QUALITY AND RATINGS GO HAND IN HAND.” Before Dresden, teamWorx had carried out postproduction at ARRI Film & TV in Munich on TV movies such as The Airlift (November 2005: more than 8 million viewers) and Storm Tide (February 2006: more than 11 million viewers). Dresden became the company’s third sensational ratings success in the winter of 2005/2006. “The fact that more than 12 million television viewers saw this film is proof that quality and ratings go hand in hand”, says Nico Hoffman, Managing Director and Producer at teamWorx. His colleague Sascha Schwingel adds: “It makes me extremely happy that the intensive work of the entire team was rewarded and valued in this way.” With a budget of ten million Euros, Dresden is one of the most expensive German television productions ever made. Written by Stefan Kolditz, its fictional story takes place against the historical backdrop of the air raid carried out by Allied Forces on Dresden in February 1945. The architecturally rich city, known since the EighteenthCentury as the Florence of the Elbe, was razed to the ground and thousands of its residents, most of them civilians, were killed. The film, in which a German nurse (Felicitas Woll) falls in love with a British bomber pilot who has been shot down (John Light), allows viewers to see both sides of the story in an impartial way.

The film came together during a 70-day shoot at original locations in the Saxon capital, as well as in Leipzig and Cologne. There followed an exhaustive 8-month postproduction phase based at ARRI in Munich, which involved the entire sound mix as well as visual elements. Throughout the shoot, the negative was developed and video rushes pulled at ARRI, so that they could be onlined directly from the digi-betas after they were scanned on the Spirit in SD. Head Colourist of the entire production was ARRI’s Natalie Helgath. After the external offline edit was carried out by Roland Suso Richter on an Avid, Tatjana Schröter of ARRI Film & TV went ahead with the online edit. “VFX shots were worked on externally throughout the process; even the sample phase meaning we constantly clipped shots which required visual effects work and sent them on digi-beta to the VFX facility. The entire online was carried out on the Avid Adrenaline, as is the case with most classical TV productions”, says Tobias Bohlinger, Project Co-coordinator for TV Drama at ARRI Film & TV. “Simultaneously, a lot of archival material from film, VHS, DVD and other formats was edited in during postproduction. Right until the end we, together with the Producers, tried to locate original film footage to scan in. The Producers and Executives agreed that for the sake of authenticity, inferior quality was something we had to accept in order to have the source material in the film”, he continues. The question of how extensively they should touch up the archive material arose continually: “Aside from the fact that it just wasn’t possible in some cases – because there are shots that are beyond repair – part of the charm of archival material is that it is old and looks old”, says Tobias Bohlinger.

DRESDEN

It is interesting that many new shots were digitally altered at ARRI to make them look old. This visual ‘film damage’ was the job of Jan Mehlhase, who inserted dust, scratches and flickering during the exposure onto film using special PC-based software. “On the Combustion, or rather the Flint, individual shots that particularly looked like archive images were adjusted for the edit and made to look old”, explains Jan Mehlhase. “Normally one removes mistakes, artifacts or dust, but in this case we added them. This undertaking had to take place after the final colour grading because noise reduction was carried out as part of the normal colour timing and the DVNR noise reduction would have filtered out everything I had built.” “Colour played an intentional role in the dramatic exposition. During the black-out phase prior to the attack, no regular light sources could be seen in town; only the blue light in the entryways of official buildings. Then the RAF flares (known as Christmas trees) being thrown from the planes immersed everything in a sort of greenish light, while on the fire set we worked exclusively with fire as the light source”, DP Holly Fink explains. The contrast between these light sources, bolstered by the colour timing, was used as a tool to separate locations clearly and make it easier for viewers to ‘find their way around’ during the film. Authenticity was generally an important aspect of this TV movie and was reflected in more than just the archival footage and colour timing. All English pilots and military personnel were played by British actors who spoke English on set, while the German actors spoke in German. Unlike in similar films set during World War II, exterior scenes were not shot in Eastern Europe. “It was a conscious decision to shoot at the original locations in Dresden, especially at the ‘Frauenkirche’, which was a tricky building for us, because the church had not been entirely restored yet and the inside was being restored from blueprints predating 1945. The ‘Fürstenzug’ and the ‘Augustusbrücke’ are also locations which can only 28

be reproduced authentically in Dresden”, explains Producer Sascha Schwingel. The main titles, as well as the numerous inter-titles for Dresden, were created at ARRI in Munich. The Title Designer was Stefan Söllner, who created the titles in the classic Videodirector with an Aston Motif title generator and an A 57 DVE.

TV Production with Cinema Sound Even when it came to the large-scale sound mix of Dresden, authenticity was the key concern. It was teamWorx’s intention from the beginning to produce an impressive, experiential soundtrack in the 5.1 format, because so much more can be achieved with 6 channels. Cinema sound for television and the associated broadcasting facilities required at TV stations are not the established norm in Germany at this time. “The work on the visual level was truly extraordinary – the fear of dying and the closeness to death came across exceptionally well – and it was the task of the sound to complement this dramatic visual impact, not least with the fantastically urgent and emotional score from Harald Kloser”, explains Sound Designer Max Rammler. “That being said, at the sound recording at ARRI it was clear that the music should not be used in a glorifying way and so the air raid was not accompanied by overly bombastic music. On the contrary, Director Roland Suso Richter paid great attention to maintaining an emotional balance.

VISIONARRI

“WITH A BUDGET OF TEN MILLION EUROS, DRESDEN IS ONE OF THE MOST EXPENSIVE GERMAN TELEVISION PRODUCTIONS EVER MADE.”

DoP HOLLY FINK behind the camera ON LOCATION for Dresden

It was our task and an incredible challenge to maintain that balance with our use of sound for heroic, touching and human moments during all these action scenes. With regard to the technical effort, we had three to four times as many tracks as is normal for a television production. Altogether, I went to the final mix with over 80 tracks, compiled from some 250 separate audio tracks. It really was a feature film effort. In fact most of the feature films I have made so far weren’t as demanding as this television production”, comments Max Rammler. From a technical perspective the sound recording of Dresden at ARRI Sound and its distribution in the 5.1 format will set a trend “…towards digital tracks, HDTV and multi-channel sound. Because that, from a technological point of view, is the future”, guarantees Rammler. “And ARRI is one of the few facilities in the world where from a creative, as well as a technical perspective, the necessary expertise for tomorrow’s technology is available today. We can impart the necessary know-how to the networks; how they have to design their products in terms of dynamics and in terms of technical development, so that they can broadcast the best possible final product. ARRI is clearly a company which can set a technical as well as creative standard in this area.” For Dresden ARRI completed a version consisting of two 90-minute episodes for German television, as well as a single 142-minute version for international distribution and theatrical release. The master tapes for DVD authoring were also made at ARRI. “This required quite a bit of logistics, because we had to cut from two 90-minute parts one 142 minute version – adding clips that were not part of the two 90-minute versions. That meant we had to go through colour correction again, grading and adjusting all scenes which had not been part of the TV version. Editor Bernd Schlegel wanted to have all available footage shot for the two-part TV miniseries for his Avid cut of the theatre version”, says Tobias Bohlinger. As a little advertising gimmick, ZDF decided to advertise the television film Dresden in movie theatres, running a 30 second spot in cinemas. Even the copies for the theatre commercials were produced at ARRI. Jochen Hähnel

Online: Tatjana Schröter Colourist: Natalie Helgath Title: Stefan Söllner Visuals Film Damage: Jan Mehlhase Project Co-ordination: Tobias Bohlinger 29

D-20

THE D-20 HAS PROGRESSED THROUGH A SERIES OF TESTS, TRIALS AND ASSESSMENTS AND IS NOW BEING USED ON A VARIETY OF COMMERCIAL, TV AND FEATURE PRODUCTIONS WORLD-WIDE.

Combining the functionality of ARRI film cameras with the immediacy of digital acquisition to provide a modern film-style digital camera doesn’t stop there. Continuing development ensures that the D-20 can offer the Cinematographer even more options such as the experimental data mode that was shown at NAB, Las Vegas. Once developed further this will allow raw data from the 4:3 area of the sensor to be recorded, monitored and subsequently provided to the post-production in a standard 2k or 3k format. With regards to availability, Bill Lovell, ARRI’s Digital Camera Product Manager, comments “We have been bowled over by the huge interest in the D-20 and are currently working hard to produce enough cameras to meet the global demand. The cameras will be available through a variety of ARRI Rental Group partners and associates including Clairmont Camera in the USA and Canada, Bogard in France and NAC in Japan.”

Madonna at The Grammy Awards The Grammy Awards have a history of memorable and often unexpected live duets, such as that between Elton John and Eminem in 2001, but when organisers announced that Madonna would share the stage with animated band Gorillaz, at the 48th annual awards in February 2006, there was speculation as to how this would even be possible. The show’s Producers needed to create an illusion that would work for both the live audience and for the millions of television viewers. A two-dimensional projected animation would not be sufficiently dynamic, and would not allow Madonna to convincingly interact with the cartoon band members. The decision was made, therefore, to image Gorillaz using 3-D HD colour projection - a broadcasting first for US television. The idea was to seamlessly meld previously recorded footage of Madonna performing with her actual live appearance. The prerecorded images would make possible a virtual duet between Gorillaz and Madonna, duping the audience into believing they had seen Madonna appear live on stage when in fact they were watching a life-size projection. This projection, having been painstakingly composited with the animations, could seemingly occupy the same three-dimensional space as Gorillaz - walking first in front of one character and then behind another. Madonna would leave the Gorillaz stage and reappear on an adjoining one, this time in person, wearing the same costume and make-up to complete the illusion, and the song. It was vital that the projection of Madonna look as similar to the live broadcast performance as possible, so the choice of camera was a crucial factor. HSI London, producing the spot in association with Passion Pictures, were keen to use the new ARRIFLEX D-20, a film-style digital camera capable of image capture at the highest end of High Definition. In order to reduce motion blur and emulate the video look of broadcast cameras that would be recording Madonna on the night itself, the Producers requested that the D-20 record at 59.94fps at its full 1920x1080 resolution. 30

Currently such a frame rate cannot be captured on tape, which meant that the camera would have to stream images directly to a computer capable of capturing and storing them in real time. ARRI Media in London quickly sourced a DVS Clipster from root6 of Soho and set about testing it with the D-20 during the few days before the shoot. The camera was being utilised in an entirely new and unproven mode, so it was deemed sensible to shoot 35mm film side by side with the D-20, as a precaution. ARRI technicians were present on set alongside the 35mm crew, and the two cameras were mounted next to each other on a dolly. The D-20 performed exactly as required and the Clipster to which it was cabled captured the takes, which could immediately be played back on a Hi-Def monitor and edited into a timeline, without a hitch. Post-production was carried out at The Mill in London, where technicians were presented with the luxury of being able to choose between the 35mm and digital versions. Both options were of high resolution, but the deciding factor was a concern that a TV Cameraman might zoom in on the projection during the live broadcast, and the D-20 images were found to be cleaner at high magnification. For this reason the D-20 material was chosen to create the composite. Audiences were stunned by the result when it opened the ceremony at the Stapleton Center in Los Angeles on February 8th and the duet immediately became a ‘Grammy moment’. Gorillaz were further rewarded with the ‘Best Pop Collaboration With Vocals’ award later in the evening, for their track ‘Feel Good Inc’, featuring De La Soul. Further info on Gorillaz: RMP on +44 208 749 7999

VISIONARRI

ARRIFLEX D-20 Goes Commercial at ARRI Rental

DoP HARALD STAUDACH framing a shot on the Kawasaki Ninja commercial

Colgate In January 2006 the first two-camera production for the D-20 serviced by ARRI Rental Munich took place for 16 days in Prague, Czech Republic. A total of 46 commercials for Colgate toothpaste in various European versions where produced by the Czech production company “Filmservice Productions” for Young & Rubicam, France. The compatibility of the camera with the full range of PL-Mounted lenses was a major reason for going with the D-20. “We wanted to use 35mm lenses for a small depth of field, which is only possible with a large sensor and especially swing and shift lenses for the special look of these commercials,” says DoP Mike Lloyd from Great Britain. “Stuart (Macleod, the director) and I were eager to give the D-20 a real-life challenge after a very promising demo at ARRI Media in London. We thought it to be the right choice for this job – and we were completely satisfied.”

Kawasaki Ninja Only a week after the D-20 was first presented to potential customers at ARRI Rental Vienna the first production in Austria took place on March 16th 2006. “Propeller Film” produced a commercial for Kawasaki Ninja motorbikes, which is intended to be submitted to the Cannes Lions 2006 international advertising festival. Roman Valent directed the story of a young man packing his clothes for a motorbike tour… Producer Gregor Modrzejewski tried to push the D-20 to its limits: “We recorded in RGB 4:4:4 on the SONY SRW-1 field recorder to evaluate how far we could go in grading.” Directly after the shoot, the material was transferred to a DVS Clipster® harddisk-system in 4:4:4 for postproduction at Vienna-based Listo Video. A Barco HD-projector was used to evaluate the images during transfer.

A STYLISH LOFT was set up on the 8th floor of an office-building high above the rooftops of Prague.

After the first days of shooting DoP Mike Lloyd almost forgot about his lightmeter: “With the Astro waveform-monitor you really have control on your exposure and the results we saw in the grading suite were extremely satisfying”. The material was recorded on two SONY SRW-1 HDCAM SR recorders and additionally on two analogue Betacam SP for offline editing. The HD-material was graded and downconverted at UPP in Prague, the final online of the commercials was done in Paris. Even though the swing and shift lenses led to some minor differences in colour between the two cameras it was no problem at all to match the images. ˇ ˇ Stibinger Colourist Ondrej from UPP states: “The levels were very well balanced thanks to the usage of waveform monitors on set. This material looks much more like film than any other digitally acquired material I have seen until now.”

“The look of the D-20 is very clean,” says DoP Harald Staudach, “the only thing that takes some getting used to is the shutter running all the time.” Using a light meter, he set the light levels to the equivalent of about 100 ASA but quickly found that a waveform monitor is an equally valuable tool for evaluating exposure levels with electronic cameras (and after all the D-20 is one…). “This really shows if you are exposing correctly or are loosing details in the blacks or the highlights. I felt completely safe regarding exposure levels.” Producer Modrzejewski is looking forward using the D-20 for various commercials in the near future: “We see a lot of advantages in digital HD acquisition especially for commercials.” Lenses, tripods and other additional equipment were supplied by ARRI Rental Vienna – Branch Manager Gerhard Giesser is confident to see the D-20 very soon in Vienna again. 1ST ASSISTANT

DIRECTOR Oliver Kester, Director Roman Valent, DoP Harald Staudach with the D-20

DIGITAL & FILM side by side

D-20

D-20 Captures Nike World Cup Football Commercial During the approach to the World Cup 2006, Nike was busy producing a series of TV and web commercials featuring high profile football stars to promote their Joga Bonito campaign. Agency Wieden & Kennedy Amsterdam wanted to appoint a young Director with a lot of experience in promos and commercials who could give the spot a contemporary, street-like treatment and so they turned to Marky of Production Company, ASD Lionheart.

The spot, titled Gobstopper, features Chelsea Midfielder Joe Cole playing football with some friends. As the game progresses the ball becomes smaller and smaller until it finally disappears. Marky explained his approach to the project: “All of the spots for this campaign share a certain quirkiness and were shot in a very realistic way, mostly on HDV. As soon as I read the script for Gobstopper I knew it should be treated differently from the other spots I’d seen. The idea allowed for the narrative to guide us, and a more dramatic visual style to be used. I wanted to see real determination and effort on the faces of the players and the trickery they use to manoeuvre the ball around the pitch.” The location was urban and gritty, so DoP Ed Rutherford suggested a subtle lighting plan that would make optimum use of the physical elements already present at the location. Marky continues: “All of our shadows came from the different areas of fencing and roof pillars surrounding the court. It was as if the sun was enhanced with natural places for shadows to fall. We cooled the temperature slightly in order to stay away from a relaxed sunlight feeling.” Marky decided to shoot many of the takes on a long 25-250mm zoom lens from a dolly, allowing them to get in close to the action but still read the detail as the movement was fluid. Marky explained: “We did use wider lenses and use the camera in hand-held mode to get some high energy shots too. I was amazed at the cinematic depth-of-field the D-20 gave us. This came in useful when our football was no bigger than a squash ball.” 32

DOP ED RUTHERFORD on location

It was Ed who decided that the D-20 would suit this project perfectly. Ed explains: “With the request from the agency to shoot HD, I wanted to use lenses I was familiar with and with the D-20 and its PL mount it meant that all the lenses I intended to use would be compatible. Also, I wanted to use the camera in the hand-held mode and I knew that the ergonomics and the light weight of the camera would lend itself perfectly on the pitch amongst the players. I had heard a lot about the camera and was keen to put it through its paces.” Ed continued, “The D-20 didn’t disappoint, it was nothing short of amazing. Halfway through the day I realised that I hadn’t looked once at the monitor but had been very comfortable looking through the eyepiece. With the safe area it meant that I could see the edges beyond the frame like boom mikes and lighting stands. The project involved a high contrast with a wide dynamic range and the D-20 gave us much more detail in the highlights than on HD cameras.” Ed concluded: “I thoroughly enjoyed using the D-20, the set-up took next to no time and the menu system couldn’t be more straight forward to use, its very apparent that the camera system has been totally designed with the cinematographer in mind and I look forward to using it again very soon!” Andreas Berkl Mark Hope-Jones Judith Petty

VISIONARRI

MEDIA FILM SERVICE

South Africa

Since its establishment, only six years ago, Media Film Service SA (MFS) has acquired a firm footing in a very competitive market, emerging as one of Africa’s leading equipment rental companies. “We are committed to continually raising the bar on technology and service to ensure a world-class equipment rental experience.” says Jannie van Wyk, founder and CEO of Media Film Service. MFS started out as a camera and grip rental facility in Cape Town that was fully supported by ARRI Media in London. As the company’s reputation grew, so did the demand to establish other branches in the country. It became necessary to offer clients a one-stop service, providing cameras, grip, lighting and Kodak film stock under one roof. ARRI Lighting Rental in London supported the initial offering of lighting, with MFS later purchasing equipment of their own. MFS now offers the most up-to-date ARRI equipment, as well as complementing equipment from leading specialized cinematographic suppliers from around the world.

“We can offer our clients the best equipment and unsurpassed service, anywhere in the country. We can deploy our resources from one, or all of our bases simultaneously to ensure a seamless supply and delivery of services. ARRI and Media Film Service believes in the South African film industry and are continuously investing in state-of-the-art equipment and development opportunities in the Southern African Region,” continues Jannie.

DELIVERING film stock to the Angolan border for the feature The Trail

ARRIFLEX 235 overlooking Table Bay, Cape Town

Today Media Film Service has the largest footprint of service centres in South Africa, with branches in Johannesburg, Cape Town and Durban, as well as representation in Namibia.

“Media Film Service owes its success to three factors, first, the highly motivated and committed MFS team, second, to ARRI Media and ARRI for their international support, and thirdly, to the wonderfully loyal and supportive clients and friends of MFS.”

Building the Team “This vastly exciting journey started out with three people, some camping chairs, a personal computer, loads of goodwill and of course the support from ARRI Media. Six years on there are seventy team players, warehouses full of gear and huge commitments,” explains Jannie. 33

MEDIA FILM SERVICE

“In our industry, we all come from different backgrounds with very different skills and valuable qualities. It is these skills that qualify us within our industry, but sometimes being the best at your job can also mean that you did not necessarily obtain a formal certificate of competency or qualification testifying to your ability. Although ‘only being as good as your last job’ is one of the great beauties of the film industry, it can also be a setback when establishing a common playing field for a team of technicians, administration staff, management and accounting people.” For this reason training was become an integral part of the company. While looking at every aspect of the company, MFS placed training at the centre, knowing that through training staff could be empowered to shape their own futures by being part of the process of establishing goals, objectives and a vision. “People are the heartbeat of any company, and are what make Media Film Service so successful.” says Neil du Toit, Managing Director of Media Film Service.

The Industry in South Africa The South African film industry is a highly competitive market on every level, one where excellent performance is essential to survival. This may be the underlying success of South Africa as a film making country. South Africa is seeing a return of the commercials market and an even larger influx of feature film productions. “The foreign market has identified South Africa as a country that took quick remedial action to realign its costs and value offering to the world’s filmmakers. This has drawn them back from many other emerging locations, despite a weak US Dollar. SA has proven to be an excellent value for money location as opposed to a cheap one. Quality equipment, committed crews, affordable talent, good hotels and food, a safe working environment, excellent production value and diverse locations all add up to make great production sense!” asserts Johan Haupt, Finance Director of Media Film Service. “By strategically positioning and continually strengthening our inventories and operations across Southern Africa, we are best suited for the majority of productions.” “We pride ourselves in the fact that our clients feel that they are part of our team and are contributing to the bigger picture in the development of people and working ethos within the film industry in South Africa. They feel safe in entrusting us with their projects and knowing that we will do whatever it takes to deliver on time with the highest level of expertise and service, and of course within budget.” concludes Jannie. “Doing it better” is the challenge that is never far from our minds at Media Film Service. Come over to South Africa… we look forward to contributing to your reason for many happy returns! Jannie van Wyk

ARRI MASTER PRIME, Highveld

SUPERTECHNO camera crane, Noordhoek beach A MOBILE silent generator truck, Namibia

VISIONARRI

The 2005/2006 commercial season has been especially good for Cape Town but as the commercial industry tapered off in April, there were a number of feature films either in production or starting production and shooting into the winter. The mixture of feature films and commercials at this time of the year indicate that the market is experiencing less of a typical dead winter season and will see more of an even year-round production cycle. In 2006, MFS has serviced and are looking forward to servicing some wonderfully exciting and challenging projects, including:

ER - a number of episodes of ER (Sudan), set in refugee camps/hospitals in Darfur, were shot in Cape Town and the Kalahari areas. Directors: Chris Chulack, Richard Thorpe, Skipp Sudduth DoP: Michael Brierley SASC Equipment supplied: lighting and grip

10 000 BC - a Warner Brothers project that has attracted a lot of attention and is reported to be the biggest movie ever about to shoot on South African soil. This project has received support from the whole ARRI Group and some of the service will even be supplied in New Zealand by ARRI Australia, the newest of the ARRI Group companies. Director: Roland Emmerich, DoP: Ueli Steiger Equipment supplied: camera and grip

Goodbye Bafana - a local story that plays out around ex-President Nelson Mandela’s prison guard. Director: Bille August, DoP: Robert Fraisse. Equipment supplied: camera, lighting and grip

Primeval - a technically challenging production, being filmed in a very remote location of South Africa, about a crocodile called Gustave. Director: Michael Katel, DoP: Edward Pei Equipment supplied: lighting, grip and SuperTechno 30 crane

Katrina - shot in Cape Town, this documentary drama is about the victims of hurricane Katrina. Director: Jonathan Den, DoP: Jonathan Partridge Equipment supplied: lighting and grip

White Lion - told from the lion’s perspective, the story is about a white lion cub and the problems it faces growing up in a pride as a white lion.

“The first movie I shot in South Africa was Hotel Rwanda in 2004 in Johannesburg. I had a great crew there. I have just started the Bille August movie Goodbye Bafana in Cape Town and I have a great crew as well, very professional and very competent. Because this movie is a co-production involving six different countries we have met many problems and the movie had to be delayed several times. I was introduced to Media Film Service and after a short meeting I decided to hire them for camera and lighting equipment. We didn’t know if we were going to shoot until the last minute so we were constantly changing dates and type of equipment. But in spite of that, people from Media kept smiling and did their best to provide me the best possible equipment suitable for our budget. Everyday I felt strongly supported by Jannie and his team.” DoP Robert Fraisse

“I have had the pleasure of using Media Film Service in South Africa many times over the years and have only good things to say about their service and attention to detail. I have shot many features, including the Oscar nominated Yesterday. Media have supplied gear on nine of the twelve films I have shot. I once needed a hand crank camera for a low budget movie I was shooting, Jannie and his team had it designed and modified and in the country within four days of my requesting it. Now that’s not just good service, that’s great service. Their lighting and rental catalogue is constantly being upgraded and their gear is always immaculately maintained. I know when I order Media gear, it’s going to be there and it’s going to work.” DoP Michael Brierley SASC

“Your people, facilities and resources are first class. You have enough back-up via ARRI to make a large project such as 10,000 BC possible for us in the most professional way. At the same time you have custom tailored all of your equipment to our specific requests, which was no easy task. I would like to add again, that it is the people behind the operation that makes shooting such a demanding film as ours possible.” DoP Ueli Steiger & Camera Assistant Joseph Sanchez

Director: Ben Horowit, DoP: Michael Swan Equipment supplied: camera, lighting and grip

The Master PERFORMANCE WITH POWER

Technological progress in the fields of lens design, optical glass materials, anti-reflection coating, optical metrology, precision machining and surface hardening have enabled the ARRI Rental Group and Carl Zeiss to bring you the Master Zoom 16.5 – 110. A high performance T2.6 zoom lens that provides outstanding optical image quality. Exclusively available through the ARRI Rental Group, the Master Zoom covers the whole Super 35 frame over the entire zoom range, while displaying very little breathing. This is because the same optical components used to create the Master Primes have also been utilized in the Master Zoom, including Dual Floating Elements™, special high precision aspherical lens elements and exotic glass materials. An important issue in zoom lens design is the correction of optical aberrations (such as chromatic aberration (colour fringes), and in particular, field curvature) across the whole operating range of the lens; this is considerably harder in a zoom lens than a fixed lens, which needs only to correct the aberrations for one

focal length. The Master Zoom forms a high contrast, high-resolution image with almost no chromatic aberration. The aspherical lens elements help in reducing spherical aberration but more importantly keep the image geometry free of distortions, so straight lines stay straight, from infinity to close focus. Another issue with many zoom lenses is that as you zoom in, the picture can get slightly darker - a condition referred to as ‘lens ramping’. The greater the zoom ratio the more difficult this condition is to prevent, but with the Master Zoom there is no lens ramping as its design ensures that the aperture holds effectively while zooming.

ZOOM The new Zeiss T* XP multi-layer, anti-reflection coating reduces veiling glare and internal reflections, while creating a pleasing colour balance. Compared to conventional coatings, the T* XP coating has better transmission with a more uniform performance across the lens, from the optical centre to the edges. The Master Zoom’s design also provides superior damping of stray light and flare through internal light traps and strategically painted lens rims. The various light traps incorporated into the mechanical design keep unwanted light from bouncing around inside the lens and several types of proprietary black paints with different refractive properties have been used to blacken lens rims for maximum absorbing effect. All of these factors result in higher contrast with deeper, richer blacks, while a round iris opening creates natural looking out-of-focus highlights.

THE MASTER ZOOM FORMS A HIGH CONTRAST, HIGHRESOLUTION IMAGE WITH ALMOST NO CHROMATIC ABERRATION. The Master Zoom has been Super Colour Matched to fit perfectly with all other modern ARRI Zeiss lenses, allowing shots to be easily intercut. The design of the focus, zoom and iris scales have also been matched to other ARRI Zeiss lenses for familiar handling and, as with the Master Primes, the focus ring is reversible for easy switching between metre and feet scales. All mechanical parts have been engineered for an extremely smooth feel and the Master Zoom’s unique active temperature compensation ability means that focus and image quality can be maintained over a wide range of temperatures. Superior performance and ease of operation is exactly what you expect from ARRI Zeiss lenses, the new Master Zoom lens offers great optical and mechanical performance and is available exclusively from the ARRI Rental Group.

VISIONARRI

MASTER ZOOM FACTS Covers full ANSI Super 35 image area over the entire zoom range Focal range of 16.5 to 110mm, aperture T2.6 Almost no geometric distortion, even up close Virtually no breathing Zeiss T* XP multi-layer, anti-reflection lens coating means minimal veiling glare Holds effective aperture while zooming so no ‘lens ramping’ Provides superior damping of stray light and flare A circular shaped aperture creates natural looking out-of-focus highlights Active temperature compensation holds focus and image quality over a wide range of temperatures Built-in Lens Data System (LDS) Super Colour Matched Reversible focus ring for easy switching between metre and feet scales What is the T* XP Anti-reflection Coating? Anti-reflection coatings ensure that the maximum amount of light reaches the film instead of being reflected away from the lens surfaces or, worse, bouncing around inside the lens. They are also an important contributor to correct colour balance. The new multi-layer T* XP (Extended Performance) anti-reflection coating developed by Zeiss ensures maximum light transmission in a wide spectrum of wavelengths. The coating, which is also used for the Master Primes and other ARRI Zeiss lenses, has been optimized with respect to the spectral sensitivity of motion picture film and the sensitivity of the human eye. In addition, a sophisticated new application process assures uniform performance across the whole lens surface. Compared to conventional multilayer coatings, the T* XP coating has up to five times better transmission at the edges. The results are higher contrast, deeper blacks and a great reduction of false light effects such as internal reflections, veiling glare, flare and narcissism.

ARRI STOPS FORMULA ONE IN ITS TRACKS R.TV Film and Television from Böblingen produced exclusive footage for the start of the 2006 Formula One racing season.

ARRIFLEX 235 and UP8R mounted to the front of the F1 TF106 racing car

Tasked by Toyota to produce action-packed, dynamic material that captured the high-tech world of Formula One, R.TV used Toyota’s TF106 racing car as the focus of the production. A giant shooting operation had to be undertaken in order to capture the F1 car, which reached a speed of around 211mph, racing down the test tracks of the Paul Ricard circuit in Le Castellet, France. The multi-camera shoot included ten 35mm units, a helicopter, a crane and a speed car, as well as many other tricks of the trade. Claus Richter, of the ARRI Camera Support Team, accompanied the huge camera package that included ARRIFLEX 235 and 435 Xtreme cameras, as well as the Ultra Prime 8R lens, which was used to capture dynamic and unusual angles from a camera mounted to the F1 car. Due to the speed that the TF106 racing car was traveling at every set-up had to be perfect, the timing and course of events had to be worked out with great detail. During shooting even communication was a challenge with the noise of the engines roaring. As if all this wasn’t enough of a task for Director Tobias Heppermann and Producer Oliver Bauss, they set out to generate never-beforeseen material with the help of special effects, and to produce two world premieres – clearly a job for ARRI Commerical!

Rico Reitz, Art Director & Inferno Artist, attended the shoot as the supervisor for the planned special effects and was fascinated by what took place at the circuit in Le Castellet, remarking: “It was incredibly loud!” The goal for the entire team was the optimal realization of two time-slice sequences. On set he met, among others, Dayton Taylor (Matrix-Effect). Preparation for the effects took eight hours of rigging per motif, as it was very important to ensure that all fifty of the Canon analogue cameras were precisely aligned and that simultaneous shutter release was achieved. The Canon cameras were bracketed by an ARRIFLEX 435 at the beginning and an ARRIFLEX 235 at the end of the shot. Back in Munich the images were scanned with the ARRISCAN at a resolution of 2K. Individual pictures were then stabilized on the Inferno & Flame and put together into a sequence, creating the required timeslice effect. DAYTON TAYLOR (Matrix-Effect)

THE CANON CAMERAS bracketed by an ARRIFLEX 435 & 235 LOOKING through the UP8R

VISIONARRI

“WE ARE ALWAYS IN SEARCH OF THE UNUSUAL AND HAVE LONG HAD THE DESIRE TO REALISE THIS COMPLICATED TIME-SLICE IN THE CONTEXT OF FORMULA ONE.”

“If the cameras had not been precisely aligned and/or the shutter release had not occurred simultaneously, postproduction would have been extended by several days,” said Mikel Tischner, Inferno Artist. “For that reason, the pictures shot are generally viewed on set in a digital format to check the alignment and simultaneous shutter release.” The selected motifs for the time-slices show a pit-stop and, from an additional set-up, the TF106 driving through a puddle, which is particularly impressive because of drops of water that appear to be suspended in the air. The car freezes in front of your eyes and as quickly as it froze, it comes to life again and races off at an incredible speed. Director Tobias Hepeprmann and Producer Oliver Bauss were relieved when the shoot was in the can: “We are always in search of the unusual and have long had the desire to realise this complicated timeslice in the context of Formula One. With Toyota we had the right team and ARRI was able to fulfill our wishes one hundred percent. The end result is perfect!.” Julia Eberl

Product: Formula One “Toyota” Production: R.TV Film and Television, Böblingen Director: Tobias Heppermann Exec. Producer: Oliver Baus Postproduction: ARRI Film & TV / Commercial PP-Producer: Philipp Bartel Telecine: Janna Sälzer, Bertl Grabmayr Inferno/Flame Artists: Rico Reitz, Mikel Tischner

MOMENTS IN TIME A RETROSPECTIVE OF ARRIFLEX CAMERAS AT WORK ON MILESTONE PRODUCTIONS 40

VISIONARRI

Das Boot and the Birth of the IIIC A year after its release in Germany, Das Boot premiered in the United States at the 1982 Filmex film festival in Los Angeles. The lights went down, the curtains drew, and a title card appeared on the screen: “40,000 German sailors served on U-boats during World War II. 30,000 never returned.” The audience, accustomed to war films that almost universally presented stories from an Allied standpoint, broke into spontaneous applause. At the back of the auditorium, Director Wolfgang Peterson’s heart sank. He had spent over two years making this film about the cramped and dangerous lives of men aboard an Atlantic U-boat in 1941, with rigorous attention to detail. In Germany it had been criticised by the liberal left, of which he was a member, for not expressing the guilt that had permeated the country’s society for decades. Now it seemed the film might be punished in America simply for telling a story about the hardships of war from a fresh perspective. Peterson sat with the audience throughout the two and a half hour screening and wondered if, even after 40 years, it was still too soon to have made such a film. His answer came as the end credits started to roll. Das Boot received a standing ovation.

DOP JOST VACANO in the submarine set with his purpose-built gyro-rig and the prototype IIIC. First Assitant Peter Maiwald holds the remote focus unit.

“I HAD VERY STRONG FEELINGS ABOUT THE VISUALS OF THIS FILM AND IT WAS NOT EASY IN THE BEGINNING TO CONVINCE THE DIRECTOR AND THE PRODUCERS THAT I WAS RIGHT.”

Based on the best-selling novel by Lothar G. Buchheim, the film had actually been in development as an American project from as early as 1976. Don Siegel and John Sturges were lined up as possible Directors, while Paul Newman and Robert Redford were considered for the role of the U-boat captain. Sturges spent a great deal of time preparing for the shoot in Munich, where construction of the submarine replicas and miniatures got underway. The project, however, was impeded and eventually shut down by creative differences between the production team and Buchheim, who had right of veto over the screenplay. In 1979, a Producer named Günter Rohrbach took over Bavaria Film Studios, where the Americans had intended to shoot. It occurred to him that since so much money had already been spent on the sets and miniatures, which were there for the taking, it might be worth resurrecting the film as an all-German production. The budget would still be greater than that of any previous German film, but he calculated that by using the footage to create both an international feature and a longer TV series, he could double his markets and offset the considerable cost. Jost Vacano, a local DoP with 15 years’ experience shooting German TV and features, was hired to photograph the film. He had never met Wolfgang Peterson before, though they had heard of each other and quickly formed a strong relationship. “I communicated with him very well from the beginning”, says Vacano. They shared a determination that absolute realism should be the basic credo underlying the endeavour. Peterson agreed in principle with Vacano’s view that it was vital to film within the actual confines of the submarine interior set, without removing walls or ceilings. They had both seen some of the many ‘submarine movies’ that came out of America throughout the 1950s and wanted to escape the staged aesthetic of those 42

films. Vacano ran into difficulty, however, when he expressed a belief that hand-held filming would be the best option: “I had very strong feelings about the visuals of this film and it was not easy in the beginning to convince the Director and the Producers that I was right.” He was also keen to avoid film lighting, preferring the idea of placing high-wattage practical lamps in locations true to original submarine specifications: “Normally you would bring light to the actors, but I wanted to light the boat in a certain manner and then not change it. That way, the actors had to move to the light, which meant action centred around work stations in a realistic way.” Although Vacano acquired a few precious rolls of Fuji’s new 250ASA stock, making Das Boot the first European film to use it, he had to make do with 100ASA - the fastest colour negative then available - for the interiors, which meant slightly underexposing even at T2.8.

DIRECTOR WOLFGANG PETERSON

directs from the cherry picker. Behind him is the full-scale submarine replica, which was borrowed mid-shoot by Steven Spielberg for Raiders Of The Lost Ark.

VISIONARRI

“MY RESPONSE WAS – LET’S DO IT THE BEST WAY WE CAN DO IT, NOT THE WAY IT MIGHT BE DONE IN HOLLYWOOD.”

Being double-stabilised on the optical axis, the rig also provided a horizon reference that the windowless submarine lacked, for scenes during which the set was pitched about on a huge hydraulic platform and the actors could barely keep their feet. Vacano additionally developed his own remote focus unit with the help of Alfred Chrosziel. “There have been times in my career”, he says, “when it has felt like I’m as much an engineer as a photographer.”

The studio was nervous about Vacano’s idea of shooting the piece more like a documentary than a major feature. Many involved with the project felt that a film bound for world markets should emulate the Hollywood style of filmmaking. Vacano felt precisely the opposite: “My response was – let’s do it the best way we can do it, not the way it might be done in Hollywood. We had the chance to approach a big feature film in a new and unexpected way.” Peterson was won over and Vacano started building a gyroscopically stabilized camera rig that he could hold in front of his crouched body as he ran through the set. Though Steadicam was available at that time, it was too cumbersome to get through the tiny circular doors that separated compartments within the submarine. Space was so tight that he had to wear a crash helmet and body armour to prevent serious injury on the many occasions when he fell or struck an obstacle. The rig softened his jarring running motion without eliminating a sense of human body movement that he believed would help pull audiences into the story.

Vacano initially used an ARRI IIC camera on his hand-held rig, but ran into difficulty because the rigid viewfinder made low-angle work almost impossible. He lived in Munich and had a good relationship with ARRI, so asked engineers at the company if they might build something that could help him. This conversation brought about the birth of the IIIC, a single-mount, pivoting-viewfinder camera that represented the last evolutionary step of a body design which began life in 1946 as the ARRI II. Vacano was delighted: “I was always very close with the ARRI engineers”, he says. “We would discuss future developments and I would tell them what I would like to see or what particular features might help me. They were always very willing to help and for Das Boot they built a completely new camera for me, which was fantastic.” The prototype IIIC was subsequently used to shoot most of the film. Camera noise was not an issue because the nerve-shattering sounds made by the steel-welded submarine set and its hydraulic platform necessitated the post-dubbing of all dialogue. An ARRI III was also utilised, and was adapted to accept 1000ft 35BL coaxial magazines in underwater housings for model shots out at sea.

Das Boot was a box-office smash and a towering artistic success. It became the most successful foreign film released in the US up to that time and its record of six Oscar nominations has yet to be matched by a German film. Jost Vacano describes the shoot as physically the toughest of his career, but remembers having no doubt at all that they were creating something special. “You know after this film I worked in the United States for about fifteen years and shot many big mainstream films there, but when I look back, Das Boot is still one of my favourite pieces. Maybe the best one of all.” Mark Hope-Jones

Tibor SANDS A Life In Focus

TIBOR 2006 TIBOR 1957

In March 2006, Tibor Sands began semi-retirement, following fifteen years of service at ARRI CSC NY, formally Camera Service Center. He became beloved by the New York production community during his time as a Rental Agent, having previously been one of the cityâ&#x20AC;&#x2122;s most respected camera technicians. Those however, are only chapters in an extraordinary story, one which is far from over. Tibor Munkacsi was born in Budapest, Hungary in December 1925, and joined a family of ten half-brothers and sisters. In 1944 he was imprisoned in a concentration camp, to be liberated nine months later by the American 3rd Army. Following six months in a refugee hostel, Tibor was given a choice of destinations and he chose England as a stepping stone to America, where his three surviving step brothers now lived. His interest in photography eventually landed him a job at Alfa Laboratories, at 72 Wardour Street, Soho, London as an apprentice.

VISIONARRI

In 1950, Tibor was finally cleared to travel to America and on June 14th 1950 he landed in New York on the liner Queen Elizabeth, ironically docking yards from the current location of ARRI CSC NY (a colleague recently commented that he hadn’t come far in fifty-five years). He initially worked as an assistant to his step brother Martin, by now a famous stills photographer, before he moved on to work with Robert Monroe having acquired the surname Murray out of the phone book in frustration at people’s struggle with Munkacsi. During eight years working with Monroe in fashion and advertising, Tibor became aware of the burgeoning motion picture industry via his other step brother Muki who worked as an on-set stills photographer. He left Robert Monroe to do the same, working on the locations of many of the major productions shooting in the New York area in the early 1960’s, amongst them the pre-production stills for West Side Story. Whilst doing so Tibor learnt of a shortage of motion picture camera assistants and so he joined the union and in 1961 began another phase of an extraordinary life. Initially the work available was a mix of commercials, newsreels and documentaries, and Tibor would often find himself working at M.P.O. stages, were he would sometimes bump into a fellow assistant, Gordon Willis. A friendship developed which culminated in Gordon asking Tibor to join him on his first feature film as a DP, End of the Road. They worked together on countless commercials and nine feature films, including Klute and The Godfather. The team was completed by another assistant from their M.P.O. days, Michael Chapman, who joined as their Operator. Tibor therefore witnessed at first-hand many of the creative challenges that surrounded these ground-breaking productions that left a lasting impact on Cinematography as we know it today.

Meanwhile there had been another significant development in Tibor’s life. In 1974, whilst cycling in Central Park he fell from his bicycle and cut his legs. An angel of mercy came to his rescue, in the form of Sara, and after sharing an ice cream in the Park they have been together for over thirty years. In due course Tibor’s work opportunities began to slow down as his regular cameramen moved away or retired. Throughout his career in New York, his rental company of choice had always been Camera Service Center (now known as ARRI CSC). He was therefore delighted when an opportunity arose for him to join the company full time, initially assisting on the camera floor and subsequently joining Charlie Tammaro and his team as a camera rental agent. Looking back on his experiences both as an employee and as a client of a rental company, Tibor remains passionate that the key to the success of ARRI CSC, as with any great facility house, is training. He reflects on the quality of advice and support that he has enjoyed over the years and he feels strongly this is what makes ARRI CSC a truly extraordinary organization. He is proud to have contributed to the training of the many graduates of what he refers to as the CSC University, an alumni that includes many of the leading technicians in the industry. And ARRI CSC is fortunate that he will continue to work part time in order to maintain that noble tradition. Meanwhile Tibor himself is going back to school, returning to his roots and picking up a stills camera again. Only this time it will be a digital system and he wants to learn how to edit his work on a laptop.

Lileth 1963

TIBOR on focus on the feature The Front 1976

TIBOR underwater

And the change of surname from Murray to Sands? Upon becoming a naturalized U.S. citizen, Tibor had the option to choose a new name, and when he once more opened that trusty phone book, that’s where his finger fell…

TIBOR on location in

Now established as one of New York’s leading camera technicians, Tibor was increasingly in a position to choose his projects. In between features, he was working regularly on television commercials and documentaries. Both provided a contrast to major studio productions, but in particular it was on documentaries that he truly enjoyed a freedom and team spirit, working closely with inspirational directors and cameramen such as Ross Lowell. The two worked together for over fifteen years, and Tibor credits Ross with teaching him many of the lessons in set etiquette which were to stand him in good stead of the years to come. Tibor meanwhile witnessed the evolution of the successful Lowell Light range, born out of their many days on location searching for the perfect lighting source.

Through Ross Lowell, Tibor met “Gentleman” Jack Horton, a busy commercials DP, and another significant influence upon him along with the legendary Joe Pytka. Joe was directing and lighting television commercials at Rick Levine Productions, but soon struck out on his own. A large man, both in character and build, he made quite a contrast to his favourite East Coast camera assistant. One episode sums up their occasionally turbulent relationship. Frustrated by an incident on set, Joe turned on Tibor and raged “I pay you all this money and you know nothing”, to which Tibor calmly replied “Joe, I agree. I could teach an idiot what I do in ten minutes. You, it would take an hour”. Joe was so delighted by this response that he literally swept Tibor off his feet and carried him over to the nearby agency staff and their clients to repeat the exchange.

filming 1963

Simon Broad

PRODUCT

UPDATE ARRI Zeiss Lightweight Zoom (LWZ-1) Inspired by the ARRIFLEX 235 and ARRICAM Lite, the ARRI Zeiss Lightweight Zoom (LWZ-1) 15.5 - 45 is the ideal companion for hand-held, Steadicam and remote work. Sophisticated design and manufacturing techniques, including the production of high precision, large diameter aspherical elements and the use of exotic glass materials ensures the highest optical performance despite its compact build and light weight. The T2.6 zoom fits perfectly with all modern ARRI Zeiss lenses, as it is Super Colour Matched and shows similar high contrast, high resolution image quality and characteristics. Special light absorption techniques and the Zeiss T* XP multi-layer, anti-reflection coating keep veiling glare to a minimum, while the aspherical lens elements reduce spherical aberration and maintain image geometry â&#x20AC;&#x201C; so straight lines stay straight, even at close focus.

FACTS Compact, lightweight zoom covering the full ANSI Super 35 image area through the complete zoom range Focal range of 15.5 to 45mm, aperture T2.6 Weighs approximately 2kg (4.4lbs) Zeiss T* XP multi-layer, anti-reflection lens coating ensures

flare resistance for deeper, richer blacks Superior geometry, even up close Super Colour Matched Ideal for the ARRIFLEX 235 & ARRICAM Lite

VISIONARRI

ARRIMAX 18 / 12 ARRI’s newest lighting fixture, the powerful ARRIMAX 18 / 12, provides an optimum choice for productions requiring maximum light output. Combining the variable beam spread of a Fresnel with the light output of a PAR, the ARRIMAX uses a unique new reflector concept for beam control, which eliminates the need for spread lenses. The ARRIMAX’s optical system provides continuous focus from 15° - 50°, while an easily interchangeable spot reflector can provide focus from 8° - 15°, allowing the immense power of the ARRIMAX to be concentrated into an even smaller area. Due to its unique reflector configuration, correction filters will last much longer and won’t burn out to the same extent as on current lens systems.

FACTS 50% brighter than a 12kW PAR 15° - 50° continuous beam spread, 8° - 15° with spot reflector Lensless design Arc-like shadow quality Superior lamp support Uses 18kW SE or 12kW SE lamps Can be used with the ARRI MaxMover automated stirrup

ARRI MaxMover A new automated stirrup that offers remote pan, tilt and focus for a wide range of lighting fixtures. Quick and easy to set up, the MaxMover has a universal adapter plate that is easily adjustable to accommodate varying size fixtures, from 6kW – 24kW ARRI lampheads. Operation is simple with an easy to use analogue or DMX (wired or wireless) control, so there is no need for a specialist operator.

FACTS Automated stirrup with universal adaptor plate Remote control for pan, tilt and focus Accommodates fixtures from 6kW – 24kW 80kg (176lbs) weight load

What fits the Universal Adapter Plate? ARRIMAX 18/12

ARRISUN 120

ARRI Daylight 18/12 Plus ARRI X 60 ARRI Compact 12000

ARRI T 24

ARRI Compact 6000

ARRI T 12

ARRI Compact Theatre

ARRI T 12 Theatre

The universal adapter plate is also easily attachable to other fixtures and accommodates a minimum width of 540mm, up to a maximum width of 880mm.

News from around the world ARRI CSC Contributes to IDA Dream Package and Frederick Douglass Documentary LOS ANGELES, CA, Kelly and Tammy Rundle of Fourth Wall Films have won the International Documentary Association’s (IDA) annual Documentary Dream Package, an award sponsored in part by ARRI CSC that includes a Super 16 mm camera rental. The Rundles plan to use the prize to begin production on their film, The Storm, The Whirlwind, The Earthquake: Frederick Douglass.

“We are very pleased to be the recipients of these valuable production resources,” says producer-writerdirector Kelly Rundle. “The IDA is the preeminent professional association for documentary filmmakers. We are eager to use this award to begin an exciting and important historical project.” With many documentaries opting to go the digital video route, Kelly feels The Storm, The Whirlwind, The Earthquake: Frederick Douglass would benefit from

Frederick Douglass is best known as a former slaveturned abolitionist and women’s suffrage supporter. He taught himself to read and was a widely respected, highly effective orator as well as an advocate for constitutional amendments that guaranteed voting rights and civil liberties for blacks. As an advisor to Abraham Lincoln, Douglass urged the President to issue an emancipation proclamation, which Lincoln did following the Union victory at the bloody Battle of Antietam in 1862.

The Storm, The Whirlwind, The Earthquake: Frederick Douglass is a documentary based on Douglass’ books and speeches. Douglass will be “interviewed” by a newspaper reporter in 1870. This material will be intercut with archival photographs and documents, and excerpts from Douglass’ speeches. To obtain a period look, Phoenix, Ariz.- based cinematographer Les Bradley of Morr Film & Video will light by utilizing and mimicking natural light and the film will be shot in historical locations. Actor Mark Winn has been cast to play Douglass onscreen. Winn previously worked for Steven Spielberg and James Cameron, and has been

KELLY AND TAMMY RUNDLE, of Fourth Wall Films

To help filmmakers make their visions a reality, a complete package was put together that would enable production of a documentary from start to finish. Raffle tickets were sold, with proceeds going to the IDA. The prize includes four weeks rental of a Super 16 mm camera package (including batteries, filters, tripod, zoom lens and magazines) from ARRI CSC, 10,000 feet of Kodak Motion Picture 16 mm film, processing at FotoKem Film & Video, a copy of Production Studio software courtesy of Adobe Systems, Inc., and a 12-hour telecine transfer from Laser Pacific. The $30,000 package is raffled off yearly as part of the IDA Awards.

shooting on film stock. He says, “As good as digital technology is, film is still the only medium to provide both a rich look of quality and a stable archival medium. Being able to say a project was ‘shot-onfilm’ raises its perceived value, stature and flexibility in the marketplace. It’s a plus when negotiating with distributors. Originating on film also provides the greatest degree of flexibility in post.”

FREDERICK DOUGLASS

VISIONARRI

ARRIFLEX D-20 Hits West Coast USA featured in dramas and documentaries on CBS, ABC, and the Discovery Channel in addition to his numerous live theatre performances. The Rundles are the owners of Fourth Wall Films, an independent film and video production company, and the producers of the critically acclaimed documentary feature film Villisca: Living with a Mystery (VilliscaMovie.com). Villisca spent 14-months in theatres and was released on DVD in October 2005. They are currently in production on Lost Nation: The Ioway, a documentary exploring Iowa’s original Native American inhabitants, the gradual loss of their ancestral lands, and the dissolution of their unique culture. This is the first time New York-based rental house ARRI CSC has contributed to the IDA Documentary Dream Package. “Film is ideal for this documentary project because we are utilizing a reenactment approach that can be very carefully planned. Our first historical documentary feature Villisca: Living with a Mystery was also shot on film using ARRIFLEX cameras, and the image quality allowed it to enjoy a 49-city theatrical release. With sufficient budget and expertise, film is still an excellent acquisition medium for documentary filmmakers,” says Kelly. The IDA was founded in 1982 as a nonprofit membership organisation dedicated to supporting the efforts of nonfiction film and video makers throughout the United States and the world; promoting the documentary form; and expanding opportunities for the production, distribution, and exhibition of documentary. The IDA is committed to continuing its efforts to increase public appreciation and demand for documentary films, videos, and television programs across all ethnic, political and socioeconomic boundaries.

ARRI CSC, representing the ARRI Rental Group in the Unites States and operating in New York and Florida, have entered into an agreement that will see Clairmont Camera provide the ARRIFLEX D-20 for hire on the West Coast.

The D-20 film-style digital camera is available through the ARRI Rental Group and selected partners. Clairmont Camera, with an extensive track record on the West Coast and in Canada, not only has a comprehensive ARRI film camera inventory but in addition a well established digital imaging department, headed by Mike Condon. The ARRIFLEX D-20 will be making its West Coast debut in June 2006 when Clairmont Camera will be offering the camera from their Los Angeles branch. Having already successfully shared the introduction of the NAC K4 “Tornado” high-speed digital camera into the United States with Clairmont Camera, the management of ARRI CSC felt that continuing the relationship with the initial ARRIFLEX D-20 systems in North America was a natural progression. For further information please contact the following: Clairmont Camera in Los Angeles: (+1) 818 761 4440 Clairmont Cameras in Toronto: (+1) 416 467 1700 Clairmont Camera in Vancouver: (+1) 604 984 4563 ARRI CSC in New York: (+1) 212 757 0906 ARRI CSC in Florida: (+1) 954 322 4545 TERRY CLAIRMONT and Denny Clairmont (left to right) CLAIRMONT CAMERA Los Angeles

NEWS FROM AROUND THE WORLD

News from around the world New RGB Grading Suite in the ARRI Film Lab

In the new 452 square feet RGB suite, colourists can work the Autodesk colour correcting system, Lustre, from a central desk and alter the primary colours (red, green and blue) of individual film set-ups dynamically as well as in tiny steps. With the help of an adjustable Cache the frame ratios of 1:1.85 and CinemaScope can be projected in 2k quality onto the 93 square feet screen with a Barko 100 projector. To minimize light reflections off walls, ceiling and floor, the room has been lined with black textiles, while to avoid a ‘black box’ feeling, real wood surfaces and red theatre seating have been added. Processing is completed in the same manner as in a traditional film lab, with the three primary colours. “On the Lustre, unlike in analogue colour grading, it is possible to work on the entire frame, but also correct the saturation of individual colours of a set-up, including black & white, selectively and dynamically, and therefore work much more precisely,” explains Josef Reidinger, Head of the Film Lab. “The result can be viewed immediately as a preview and is of course reversible, thereby

In response to the rapidly advancing digitalization of postproduction, specifically, the increasing demand for digital colour grading in DI (Digital Intermediate), ARRI has converted their former “Leihpark” theatre in the film lab into a modern RGB grading suite. Now ARRI Munich offer their clients two colour timing options, both under real cinema conditions; the high-end DI option in the Lustre master suite and the inexpensive primary version in the new Lustre RGB grading suite.

making it possible to implement corrections for as long as it takes the client to be one hundred percent satisfied with the result. The 2k projector reproduces the colours on the large screen exactly as they will later be seen in the theatres on film. This makes for an extremely accurate match of the high resolution digital projection in our suite and the film projection in theatres,” Reidinger continues. Because of its analogies to traditional analogue colour grading in the film lab, Cinematographers who have not worked with Lustre before are immediately familiar with the work process in the RGB grading suite. “With the primary RGB option we provide our clients with inexpensive digital colour grading and all the possibilities of creative composition. The client can therefore view the final image on a large screen prior to a print or digital release,” says Reidinger. Primary colour grading with Lustre offers - as does the deluxe version - aside from time savings, great qualitative advantages; the film, or parts thereof, is no longer optically duplicated and therefore suffers no generational loss. VFX shots, titles etc., can be inserted without difficulty; even a later re-cut is no longer a problem. In addition, the trailer, teaser, as well as HD, Pal, NTSC and DVD masters for international distribution are more or less an automatic byproduct. With primary colour grading in the RGB suite and in conjunction with the ARRISCAN, opticals - such as shutter speed, motion events, frame duplication, titles etc. - are being offered in the digital suite. “We have long recognized where things are heading and we will not wait until traditional film labs are a sign of the past. Most films today are already being digitally graded – although they are not being graded in theatre-like suites, as is the case here at ARRI Munich,” explains ARRI General Manager Franz Kraus. With the completion of the new Lustre/Barko RGB grading suite for primary digital colour grading under theatre conditions at the film lab, ARRI continues its strategic, service-oriented concept for the postproduction of national and international film projects at its Munich location. At the same time, ARRI remains faithful to its principle: “To always be technologically up-to-date is part of our philosophy.”

VISIONARRI

News from around the world ARRI Australia Ready for Take Off On the 11th of February 2006 ARRI’s new rental house, ARRI AUSTRALIA officially opened its doors to the industry’s professionals. The Sydney based subsidiary of ARRI Munich will gradually offer a whole spectrum of additional services such as technical servicing for lighting, camera and digital as well as becoming active in the sale of all three product groups.

Already, ARRI Australia is servicing several projects – both in Sydney and New Zealand, recently completing a four week MOW in Auckland, with DoP Ivan Strasburg and Production Manager Liz Di Fiore who ARRI previously successfully worked with on Anaconda 2. Other projects currently in production in Sydney include 16mm TV Drama Series, Blue Water High, and Happy Feet, directed by George Miller, a 35mm multi-camera shoot which reunites ARRI with DoP Andrew Lesnie ACS.

ARRI AUSTRALIA Technician Aaron

George (centre) with DoP Denson Baker ACS (left) and David Wakeley ACS (right)

RENTAL MANAGER Bill Ross and

Over 80 guests from the world of film and media attended the launch party, including production staff and technicians such as DoP Andrew Lesnie ACS, The Lord of the Rings trilogy , King Kong, Camera Assistant, Colin Deane, Gaffer Reg Garside and DoP Ross Emery, The Cave. Other guests included German General Consul in Sydney, Dr. Guenter Gruber, and Klaus Volker Schuurman, Executive Director of the German-Australian Chamber of Trade and Commerce.

With their own inventory of state-of-the-art equipment available on site, ARRI Australia also have the means of efficient logistics and direct connections to the head-office in Munich, enabling the subsidiary quick and direct access to additional equipment. ARRI Munich will build on the logistical experience from successfully servicing two major productions – The Lord of the Rings trilogy (over 20 tons of equipment were shipped from Munich to various locations in New Zealand), and King Kong.

Senior Client Contact Kate Walton with DoP Andrew Lesnie ACS

Heinz Feldhaus, who has over 50 years of experience in the film industry but also knows Australia’s expanding movie business exceptionally well is available in his capacity as Advisor. With a team comprising five additional staff members, the newly founded branch of the worldwide successful ARRI Group embarks on a very promising journey, and offers both Australia’s and New Zealand’s film industry the state-ofthe-art technology with a wide array of services and support.

ARRI AUSTRALIA’S custom built facilities in Sydney

NEWS FROM AROUND THE WORLD

News from around the world The Hi-Motion Speeds into the UK Following on from the success of the Tornado digital high-speed system for extreme slow-motion ARRI Media are introducing the Hi-Motion, a true high-definition high-speed camera that can integrate directly into a multi-camera broadcast infrastructure. The current lack of HD-compliant super slow-motion cameras in the outside broadcast market and the Hi-Motion’s ability to operate two and a half times faster than its nearest competitor makes it extremely attractive. ARRI Media currently have a single unit with more to follow at the end of the year. Andy Hayford, ARRI Media’s Digital High-Speed Project Manager, comments: “With this camera tremendously exciting slow-motion can be delivered live, but, it is also important to point out that although the camera is proving extremely popular in the field of outside sports broadcasting, it is suitable for HDTV productions requiring slow-motion sequences.” For enquires about the Tornado or Hi-Motion system contact Andy Hayford on +44 1895 457100 or email ahayford@arrimedia.com

Images are captured by three state-of-the-art CMOS sensors and recorded to a solid-state memory (RAM) in the camera head. Recording at 300fps provides eleven seconds of storage. The uncompressed recording is available instantly for playback live-to-air, with no processing delay.

Hi-Motion Specifications

So who is first to use the technology? Sky Sports have been early adopters, using the system for coverage of Premiership league football, and are scheduling the camera to capture action at other key sporting events throughout the rest of the year. BBC Sport used the Hi-Motion on the West Ham verses Liverpool FA Cup final at the Millennium Stadium in Cardiff, and ITV Sport on the Arsenal verses Barcelona UEFA Champions League final in Paris.

To be exclusively provided in Europe by ARRI Media, the Hi-Motion developed by NAC Image Technology is capable of recording images at up to 300 frames per second, with an HDTV resolution of 1920 x 1080 pixels. At 300fps the camera can extend one second of original fast-paced action into five seconds of stunningly smooth slow-motion playback.

Aspect Ratio:

16:9

Lens Mount:

Frame Rates:

12 - 300fps

Resolution:

1920 x 1080

Recording Time:

11 seconds at 300fps Pro-rata at other frame rates

Playback:

From still to 300fps

Output Video:

HD SDI

Power:

110 - 220V AC

VISIONARRI

News from around the world New Position Created to Develop Digital High-Speed Camera Market ARRI Media has recently appointed Andy Hayford as Digital High-Speed Project Manager. Andy’s role will see him concentrate on managing and developing ARRI Media’s digital high-speed camera business, and in particular focus on introducing the new Hi-Motion HDTV high-speed camera to market. With 24 years experience in the television industry, Andy brings with him extensive experience gained in various positions for companies such as Quantel, Sony Broadcast, CineVideo and On Sight. Andy says of his new position: “We plan to make a significant impact on the use of high-speed digital cameras in various fields, including TV sports production. The Hi-Motion system fits all the requirements for a full high definition camera with instant playback capability, a standard B4 lens mount and a high performance viewfinder.”

ANDY HAYFORD,

Digital High-Speed Project Manager

PRODUCTION UPDATE

ARRI RENTAL Project Name

Production Company

Director

DoP

Equipment

8 Miles High Blaze Blood & Chocolate

Exportfilm Bischoff Barefoot Films Lakeshore Entertainment

Achim Bornhak Reto Salimbeni Katja von Garnier

Benjamin Dernbecher Paul Sarossy Brendan Galvin

Fürchte dich nicht Mozart Nicht alle waren Mörder Schwere Jungs

TV60 Film Tellux Film teamWorx

Christiane Balthasar Bernd Fischerauer Jo Baier

Michael Bertl Markus Fraunholz Gunnar Fuß

ARRICAM ST/LT, 3 Perforation ARRICAM ST/LT ARRICAM ST/LT, 435, 3 Perforation, Lighting, Grip Arriflex 16 SR 3, Lighting, Grip Arriflex 16 SR 3, Lighting, Grip Arriflex 16 SR 3, Lighting, Grip

BOB Film

Marcus H. Rosenmüller

Torsten Breuer

Peter Brosens, Jessica Woodworth Jakob Schäuffelen Isabel Kleefeld

Rimvydas Leipus

The Colour of Water Majade Fiction Ungeschminkt collina Filmproduktion Unter Verdacht VIII Pro Programme

Stefan Wagner Rainer Klausmann

ARRICAM ST/LT, 435, 235, 3 Perforation, Lighting, Grip Moviecam Compact/SL, Lighting, Grip Arriflex 16 SR 3, Lighting, Grip Arriflex 16 SR 3, Lighting, Grip

ARRI CSC Project Name

Production Company

Director

DoP

Commanche Moon I Think I Love My Wife Music & Lyrics By No Country For Old Men Pride & Glory Reggaeton Step Show The Flock Untitled Noah Baumbach Untitled Scott Hicks

CBS/HBO Behind Prods. Inc. Castle Rock Paramount

Alan Caso ASC Will Rexer Xavier Grobet Roger Deakins,

Steve Litecky

Avery Ellen Gordon Productions Gotta Step Productions Bauer Martinez Studios Stonehenge Entertainment Inc.

Declan Quinn, ASC Zoran Popovic Scott Kevan Enrique Chediak Harris Savides, ASC

Brian Gunter Steve Litecky John Velez

Castle Rock

Stuart Dryburgh

Gene Engels

ASC, BSC

Equipment

Serviced by

Lighting & Grip ARRICAM ST & LT Mo Flam ARRICAM ST & LT Chris Napolitano Lighting & Grip

Illumination Dynamics ARRI CSC NY ARRI CSC NY Illumination Dynamics

Bob Sciretta

ARRICAM ST & LT ARRICAM ST & LT ARRICAM ST & LT Lighting & Grip 2 x ARRICAM LT

ARRI CSC NY ARRI CSC FL ARRI CSC FL Illumination Dynamics ARRI CSC NY

ARRICAM ST & LT 435 3-Perf

ARRI CSC NY

ARRI AUSTRALIA Project Name

Production Company

Director

DoP

Equipment

Blue Water High

Southern Star Productions No9

various

2 x 16SR3, 11-110, 10.6-180, Super Speeds, Modulus ARRICAM ST, Optimo ARRI 235 435, Optimo ARRICAM ST, Cooke S4, Macros ARRI 235, Master Primes ARRI 235 ARRICAM ST, Lite, 3 x 435Xtreme, Ultra Primes ARRICAM Lite, Optimo ARRICAM ST, Lite, 2 x sets Ulltra Primes, Optimo

Cancer Council Commonwealth Games Pedigree Pepsi Lite Phones Qantas - Footballs Happy Feet (live action component) The Water Horse Untitled “MOW”

Kingdom Film Productions

George Miller

Russell Bacon/ Roger Buckingham Simon Duggan David Knight Simon Duggan Vicki Blanche Calvin Gardiner Greig Fraser Andrew Lesnie

Waterhorse Productions Film Factory

Jay Russell Richard Pearce

Oliver Stapleton Ivan Strasburg

David Knight Tristan Milani Calvin Gardiner

ARRI MEDIA Title

Production Company

Director

DoP

Equipment

Black Book Butterfly on a Wheel Flawless Hogfather Hot Fuzz Losing Gemma Magic Flute Sharpe’s Challenge Tales from the Riverbank The Golden Age

Clockwork Pictures Butterfly Productions Inc Delux Productions The MOB Film Co Working Title Films Granada Television Magic Flute Productions Ltd Picture Palace Films Riverbank Productions Ltd Working Title Films

Paul Verhoeven Mike Barker Michael Radford Vadim Jean Edgar Wright Maurice Philips Kenneth Branagh Tom Clegg John Henderson Shekhar Kapur

Karl Walter Lindenlaub, ASC Ashley Rowe, BSC Richard Greatrex, BSC Gavin Finney, BSC Jess Hall David Odd, BSC Roger Lancer Nigel Willoughby John Ignatius Remi Adefarasin, BSC

ARRICAM ST/LT ARRICAM ST/LT ARRICAM ST/LT 2x D-20 2x ARRICAM LT 2x SR3A ARRICAM ST/LT 2x SR3A 2x D-20 ARRICAM ST/LT

VISIONARRI

ARRI LIGHTING RENTAL Title

Production Company Director

DoP

Gaffer

Rigging Gaffer

Children of Men

Quietus Productions

Alfonso Cuaron

Death At A funeral Ltd Delux Productions Hallem Foe Ltd The Mob Film Company Working Title Impossible Pictures Riverbank The Movie Tiger Aspect

Frank Oz Michael Radford David Mckenzie Vadim jean Edgar Wright Jamie Payne John Henderson

John Higgins/ Peter Bloor Paul Toomey Peter Goddard Campbell McIntosh Terry Hunt Andrew Duncan Stewart King Larry Park Martin Healey

Wayne Leach

Death At A Funeral Flawless Hallem Foe Hogfather Hot Fuzz Primaeval Tales Of The Riverbank The Catherine Tate Sketch Show The Magic Flute The Riddle The Walker

Emmanuel Lubeski/ Peter Hannan Oliver Curtis, BSC Richard Greatrex, BSC Giles Nuttgens Gavin Finney, BSC Jess Hall Adam Suschitzky John Ignatius John Sorapure

Magic Flute Productions Manuscript Productions The Walk (IOM) Ltd

Kenneth Brannagh Brendan Foley Paul Schrader

Roger Lancer Mark Moriarty Chris Seager, BSC

Kenny Pettigrew Paul Slatter Phil Penfold

Andrew Watson

Steve Cortie Bernie Prentice Pat Miller

Pat Miller

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURES Title

Production Company

Director

DoP

Services

8 Miles High Exportfilm Bischoff Adrift (Godspeed) Orange Pictures Fatamorgana Enigma Film Perfume: The Story of a Murderer Constantin Filmproduktion Jenny Plato Film Production Schwere Jungs BOB Film

Achim Bornhak Hans Horn Simon Groß Tom Tykwer Sinan Cetin Marcus H. Rosenmüller

Benjamin Dernbecher Bernhard Jasper Peter Steuger Frank Griebe Rebekka Haas Torsten Breuer

Special

Hofmann & Voges

Anno Saul

Peter Nix

STRAJK - Die Heldin von Danzig Welcome to America Wer früher stirbt, ist länger tot

Provobis Claussen + Wöbke Roxy Film

Volker Schlöndorff Marco Kreuzpaintner Marcus H. Rosenmüller

Andreas Hofer Daniel Gottschalk Stefan Biebl

Lab, TV Mastering, DI Lab, TV Mastering Lab, TV Mastering Lab, TV Mastering, DI, VFX Lab Lab, TV Mastering, DI, VFX, Sound Lab, TV Mastering, DI, VFX, Sound Lab, TV Mastering Lab, DI, VFX Lab, TV Mastering, VFX

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALS Client

Title

Filmproduction Company

Agency

Director

DoP

McDonald’s McDonald’s

WM Store WM Burger

e+p commercial Markenfilm Berlin

Agust Baldrusson Paul Kneer

Sebastian Blenkov Michael Mieke

Burger King Sozialdienst katholischer Frauen WWK

Oli Kahn zeigt Größe Termin

Lucie_p GAP Films

HEYE & Partner CCP, Heye Werbeagentur .Start Xynias Wetzel

Manuel Werner Philip Haucke

Christian Rein Pascal Remond

Microsoft Allianz SOS Kinderdorf Brustkrebs Deutschland e.V. Deutsche Bahn Ferrero

Windows Automotive Formel 1 6 Dörfer für 2006 Bathroom

Cadrage R.TV Film & Fernsehen e+p commercial HEYE & Partner

WM-Bahn Card Garden

e+p commercial e+p commercial

Stabilo ING DiBa

Schriftbild Markenfilm

First Frame Helliventures Dieter Deventer

Märkte am Morgen

Serviceplan Dritte Werbeagentur Cadrage HEYE & Partner Ogilvy & Mather HP Albrecht Serviceplan Vierte Werbeagentur Wüschner Rower Baier

Stefan Tischner

Christof Gurland Tobias Heppermann Wolfgang Groos Jonathan Helmer

Thomas Stokowski Armin Goliano Alexander Sachs

Mark Tiedemann Söhnke Wortmann

Michael Schreitel Britta Mangold

Norman Hafezi Joachim Hellinger

Bernd Wondolek

Published by the ARRI Rental Group Marketing Department. 3 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX United Kingdom The opinions expressed by individuals quoted in articles in VisionARRI do not necessarily represent those of the ARRI Rental Group or the Editors. Due to our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and specifications given in this publication are subject to change without notice.

Another Camera for Your Palette Break new ground in creativity with the ARRIFLEX D-20, a film-style digital camera designed with the Cinematographer in mind. For ninety years ARRI has continued to provide you with a range of sophisticated tools for visual storytelling. Now ARRI introduces you to the ARRIFLEX D-20, which combines the handling and functionality of ARRI film cameras with the immediacy of digital acquisition. With a wider choice of ARRI cameras than ever before, your creative possibilities are endless. Optical viewfinder 35mm depth of field 35mm format lenses HD & Data Modes 35mm format accessories

Available worldwide from

arri.com