VisionARRI Magazine Issue 10 by ARRI

12/10 ISSUE 10

VisionARRI

The Biannual International Magazine from the ARRI RENTAL & POSTPRODUCTION ENTERPRISES

WALL STREET MONEY NEVER SLEEPS Interview with Rodrigo Prieto ASC, AMC

Wickie and the Treasure of the Gods ARRI sets sail on a 3D Viking adventure

Downton Abbey The ARRIFLEX D-21 explores life above and below stairs in lavish new period drama

How to Get Ahead in S3D Advertising ARRI Commercial create a new dimension for leading brands

The ALEXA Universe Expands Updates and accessories extend the ARRI ALEXA toolset

VISIONARRI

ARRI SERVICES GROUP NETWORK ARRI SUBSIDIARIES

ARRI PARTNERS

AUSTRALIA ARRI Australia, Sydney Cameras Stefan Sedlmeier T +61 2 9855 4300 ssedlmeier@arri.com.au

Schwarz Film Ludwigsburg Film Lab, DI, TV Postproduction Walter Brus T +49 89 3809 1772 wbrus@arri.de

AUSTRIA ARRI Rental Vienna Cameras Gerhard Giesser T +43 189 201 07 18 rental@arri.at

HUNGARY ARRI Rental Budapest Cameras, Grip Clemens Danzer T +36 1 5500 420 cdanzer@arri.de

CZECH REPUBLIC ARRI Rental Prague Cameras, Lighting, Grip Robert Keil T +42 025 101 3575 rkeil@arri.de

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

GERMANY ARRI Rental Berlin Cameras, Lighting, Grip Ute Baron T +49 30 346 800 0 ubaron@arri.de ARRI Rental Cologne Cameras Stefan Martini T +49 221 170 6724 smartini@arri.de ARRI Rental Leipzig Cameras, Lighting, Grip Annerose Schulze T + 49 341 3500 3561 aschulze@arri.de ARRI Rental Munich Cameras, Lighting, Grip Thomas Loher T +49 89 3809 1440 tloher@arri.de ARRI Film & TV Services, Munich Film Lab, DI, TV Postproduction, VFX, Sound, Studio, Cinema International Sales: Angela Reedwisch T +49 89 3809 1574 areedwisch@arri.de National Sales: Walter Brus T +49 89 3809 1772 wbrus@arri.de Commercial & New Business Harry Stahl T +49 89 3809 1339 hstahl@arri.de ARRI Film & TV Services Berlin Film Lab, DI, TV Postproduction, VFX, Sound Mandy Rahn T +49 30 408 17 8534 mrahn@arri.de ARRI Film & TV Services, Cologne DI, TV Postproduction, Sound Markus Klaff T +49 221 57165 120 mklaff@arri.de

AUSTRALIA Cameraquip, Melbourne, Brisbane Cameras Malcolm Richards T +61 3 9699 3922 T +61 7 3844 9577 rentals@cameraquip.com.au CYPRUS Seahorse Films, Nicosia, Paphos Cameras, Lighting, Grip, Studio Andros Achilleos T +357 9967 5013 andros@seahorsefilms.com

GERMANY Maddel’s Cameras, Hamburg UNITED KINGDOM Cameras, Grip ARRI Lighting Rental, London Matthias Neumann Lighting T +49 40 66 86 390 info@maddels.com Tommy Moran T +44 1895 457 200 HUNGARY tmoran@arrirental.com VisionTeam L.O., Budapest ARRI Focus, London Cameras, Lighting, Grip Short term lighting hire Gabor Rajna for commercials & promos T +36 1 433 3911 Martin Maund, George Martin info@visionteam-lo.hu T +44 1895 810 000 martin@arrifocus.com george@arrifocus.com

ARRI Media, London Cameras, Grip Philip Cooper T +44 1895 457 100 pcooper@arrimedia.com ARRI Crew, London Diary Service Kate Collier T +44 1895 457 180 arricrew@arrimedia.com USA ARRI CSC, New Jersey Cameras, Lighting, Grip Hardwrick Johnson, Lynn Gustafson T +1 212 757 0906 hjohnson@arricsc.com gus@arricsc.com ARRI CSC, Florida Cameras, Lighting, Grip Ed Stamm T +1 954 322 4545 estamm@arricsc.com

ROMANIA Panalight Studio, Bucharest Cameras, Lighting, Grip Diana Apostol T +40 727 358 304 office@panalight.ro SOUTH AFRICA Media Film Service, Cape Town, Johannesburg, Durban, Namibia Cameras, Lighting, Grip, Studio Jannie van Wyk T +27 21 511 3300 jannie@mediafilmservice.com UNITED ARAB EMIRATES Filmquip Media, Dubai Cameras, Lighting, Grip Anthony Smythe, Aaron Hughes T +971 4 439 0610 ant.smythe@filmquipmedia.com aaron@filmquipmedia.com USA & CANADA Clairmont Camera, Hollywood, Vancouver, Toronto ARRIFLEX D-21 Representative Irving Correa T +1 818 761 4440 irvingc@clairmont.com

4 LUNCH IS FOR WIMPS

Rodrigo Prieto ASC, AMC discusses his work on Oliver Stone’s Wall Street: Money Never Sleeps

7 ILLUMINATING DEVELOPMENTS

8 WICKIE AND THE TREASURE OF THE GODS

ARRI Rental and ARRI Film & TV support a 3D action adventure

10 ON THE SET OF WICKIE AND THE TREASURE OF THE GODS

The Wickie story continues with an on-set interview

Software giant Microsoft goes 3D with ARRI Commercial

ARRI Commercial set another milestone in 3D with a state-of-the-art spot for the Opel Meriva

18 DOWNTON ABBEY

David Katznelson discusses using the D-21 to shoot ITV’s lavish new period drama

21 ALMANYA

12 ALEXA MAKES LOW LIGHT KYLIE

ARRI Film & TV take a journey through TurkishGerman history with digital colors and effects

PROMO POSSIBLE

Will Bex reflects on how the ARRI ALEXA handled the low light and high contrast of Kylie Minogue’s Get Outta My Way promo

22 THE ALEXA UNIVERSE EXPANDS A round-up of all the latest updates and accessories for the ARRI ALEXA

24 PARALLEL LIVES

CONTENTS

ARRI Film & TV post Tom Tykwer’s feature Three in 4K

26 KIDNAP & RANSOM 4

INDIA Anand Cine Service, Chennai Cameras, Lighting, Grip, Film Lab, DI Tarun Kumar T: +91 44 4598 0101 contact@anandcine.com

Mike Spragg on why he chose the D-21 for ITV’s three-part hostage drama

28 OBERAMMERGAU SHINES

ARRI Rental Munich supplies the lighting for elaborate photo shoot

29 NEW ARRILITE LIGHTING FIXTURES Two new fixtures extend the ARRILITE range

30 ARRI WEBGATE

JAPAN NAC Image Technology, Tokyo Cameras Tomofumi Masuda Hiromi Shindome T +81 3 5211 7960 masuda@camnac.co.jp

Illumination Dynamics, LA Lighting, Grip Carly Barber, Maria Carpenter T +1 818 686 6400 carly@illuminationdynamics.com maria@illuminationdynamics.com Xytech Technologies, Auckland Illumination Dynamics, Lighting North Carolina, Stephen Pryor Cameras, Lighting, Grip T +64 9 377 99 85 Jeff Pentek stephenp@xytech.co.nz T +1 704 679 9400 jeff@illuminationdynamics.com

S3D ADVERTISING

16 THE NEW OPEL MERIVA IN S3D

ARRI unveils a bold new concept in LED lighting

ICELAND Pegasus Pictures, Reykjavik Cameras, Lighting, Grip Snorri Thorisson T +354 414 2000 snorri@pegasus.is

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

14 HOW TO GET AHEAD IN

ARRI Film & TV introduce a new online communication platform

32 CONVICTION

An international collaboration sees American feature Conviction post at ARRI Film & TV

34 PRODUCT UPDATE 36 NEWS FROM AROUND THE WORLD 38 PRODUCTION UPDATE

VisionARRI would like to thank the following contributors: MSPB, Susanne Bieger, Mathias Feldmeier, Mark Hope-Jones, Ingo Klingspon, Brigitte Maria Mayer, Judith Petty, Peter Pott, Angela Reedwisch, Andrea Rosenwirth, Michelle Smith, Mike Spragg, An Tran, Sabine Welte Front Cover Photo: Barry Wetcher. TM and © 2010 Twentieth Century Fox Film Corporation. All Rights Reserved.

WIMPS

LUNCH IS FOR

Rodrigo Prieto puts in the hours on Wall Street: Money Never Sleeps

Stone reteamed with cinematographer Rodrigo Prieto ASC, AMC (State of Play, Broken Embraces, Babel, Brokeback Mountain), who had previously shot Alexander for the director, as well as the documentary Comandante. For Prieto, working with Stone offers him the unexpected and an opportunity to tell a story in a unique way. “You never know exactly what is going to happen, which is what’s really exciting about working with Oliver,” he says. “I don’t think you can figure the man out. You always have to be on your toes and ready for anything.” In the two decades since the first movie was made, the technology of how the stock exchange operates had changed immensely. This brought about a different way of communicating for the filmmakers on the sequel. “There were computers back then, but most trading was done on the phone,” explains Prieto. “Computers, texting, cell phones – all of these are now an important part of it. The graphics of all these forms of communication became the basis for our visual language.” In 1987, Oliver Stone’s Wall Street starred Charlie Sheen as a neophyte stockbroker who is mentored by a ruthless mogul played by Michael Douglas. The iconic role of Gordon Gekko, a character who came to symbolize 1980s greed and excess, garnered Douglas an Oscar. Wall Street: Money Never Sleeps takes place 23 years later; Gekko is out of prison and the new millennium has heralded a new era in how business is conducted. While trying to warn the world about the impending 2008 American financial crisis, Gekko is also attempting to make amends with his estranged daughter Winnie (Carey Mulligan). Winnie is engaged to an enterprising young trader named Jake (Shia LaBeouf), who joins forces with Gekko when his mentor is taken down by a competing firm.

VISIONARRI

Prieto devised a kinetic feel to sequences that Stone dubbed “rumor mill montages,” where gossip about corporations is circulated at lightning speed through phone, e-mails, and daily conversation. “We created frames within a frame using monitors to fill up the screen,” says the cinematographer. “I wanted to get inside the minds of the

“THE COLORS WERE WASHING THE WHOLE CLUB; I JUST FELT THAT BATHING (THE ACTORS) IN COLORS OF WHAT THEY’D SEE ALL DAY WOULD BRING THEIR WORLD OVER WITH THEM, SINCE IT’S ALL THEY TALK ABOUT.” traders. Their world is filled with numbers and graphics and computer monitors; I wanted to show that this is ingrained in their psyche, so I overlaid images of these graphics and numbers onto some of their close-ups. It’s as if we’re inside the computers and seeing them through the computer image.” Prieto accomplished this in-camera, using a video projector to throw graphics and numbers onto the actors’ faces, rather than doing it in post. “I shot through a piece of glass on a 45-degree angle, reflecting a computer monitor with graphics on it – kind of a double exposure with a ghost image of numbers flying by,” he says. ”Behind the actors, we had other monitors and computers. In a way, we’re in this world of monitors and numbers.” Known for his meticulousness during the research process, Stone encouraged the cast and crew to fully understand the background

against which the film takes place. Prieto thoroughly enjoyed this part of preproduction. “Oliver’s level of preparedness and the research he puts into his work always makes it an incredible learning experience for me, because of the depths to which he approaches the subject matter,” he explains. “That’s also a part of what is exciting working with him.” During this research period, the Mexicanborn cinematographer became familiar with the vocabulary of stockbrokers, especially their use of the term color. “Basically, red and green are the colors of when the stocks are going up or down,” says Prieto. “When they have information, they call it color. If color is information, and information is power, then we’ll use color in that scene.” The use of stylized color through lighting – in particular red and green – was more prevalent on this film than on anything Prieto had shot previously in his career. For a scene in a nightclub filled with Wall Street high flyers, Prieto programmed LED lights rigged above the location’s bar. “We had waves of mostly red light, with green lights patching through,” he says. “The colors were washing the whole club; I just felt that bathing (the actors) in colors of what they’d see all day would bring their world over with them, since it’s all they talk about.”

LUNCH IS FOR WIMPS OLIVER STONE reviews a scene with stars Michael Douglas and Shia LaBeouf

“EVEN IN THE INTERIORS OLIVER WOULD CHOREOGRAPH THE ACTORS TO MOVE QUITE A BIT, WHICH WAS PRETTY CHALLENGING IN TERMS OF LIGHTING.” RODRIGO PRIETO ASC, AMC

The filmmakers wanted to capture the hustle and bustle of The Big Apple and implied this by moving the camera often, as well as the actors. “The actors were walking as they were talking, so there’s constantly movement,” says the cinematographer, who operated the A-camera himself. “Even in the interiors Oliver would choreograph the actors to move quite a bit, which was pretty challenging in terms of lighting.”

Prieto also took into account the color saturation for different moments in the movie, selecting various Fuji stocks to render the scenes. He says, “There are these differences in color saturation depending on where each character is emotionally and in terms of economic power. From the moment we meet the character Bretton James (Josh Brolin), we’re in his glamorous, successful world, so I used the Vivid stocks. Whereas when Gordon leaves jail, I used 400T Eterna, the low-contrast stock.” The production was supplied with two ARRICAM Studios, two ARRICAM Lites, an ARRIFLEX 435 and an ARRIFLEX 235 by ARRI CSC, shooting 3-perforation Super 35 mm. “Film was definitely the way to go,” notes Prieto. “I wanted the image to be very pristine and very sharp because of the graphics and the nature of this world of economics and all these traders that we talked to. They are all really smart and on top of their game; they talk fast, they dress sharply – everything has to be just so.” To support this look, Prieto shot on Master Prime lenses without any diffusion. In postproduction, an intermediate negative 6

was used for the film-out. No interpositive negatives were created, with every print struck directly from the negatives to keep the image as sharp as possible. Shot on location in New York, Wall Street: Money Never Sleeps is also a showcase for the city where the financial base of the U.S. is located. Prieto credits second unit cinematographer Patrick Capone with many of the shots that captured the flavor of Manhattan: “He did quite a few great shots that included aerial work and the everyday action down in the city.” Prieto also took the opportunity to make the New York skyline glow just a little brighter by lighting extensive night exteriors. In a scene between Jake and Winnie at their apartment, the Empire State Building shines proudly in the background between them. “We lit several blocks of exteriors outside the window,” he says. “I remember we were scouting and I was telling my gaffer Bill O’Leary what I was imagining: at one point, I thought, ‘My God, is this too much?’ But he just took it all in his stride; he handled all of these big lighting setups and it was great.”

To capture a big speech signifying Gekko’s comeback, Stone planned out specific moves for how he wanted parts of the speech covered. Prieto notes, “Every shot had movement. We didn’t cover the whole speech from a wide shot to close-up to medium shot; Oliver was so certain that was the way he wanted to see each moment in the speech, that’s the way we shot it. There wasn’t any additional coverage.” The tight 55-day schedule was heavily location-based; it was typical to have two or three different locations per day on the schedule. “We had to really scramble, but it was the only way,” continues Prieto. “Oliver thrives on fast-paced shoots. He’s very energetic and likes to work under pressure, so we shot fast. I think that energy does end up on the screen; you can feel that pace and the urgency in the characters’ actions, and that was the way it was shot as well.” Wall Street: Money Never Sleeps was released in theaters worldwide in September/October, with the DVD release coming soon. Prieto recently wrapped production on Water for Elephants starring Robert Pattinson. Illumination Dynamics in Los Angeles supplied lighting and grip equipment. I

Illuminating developments A new focus for LED lighting At IBC and Cinec, ARRI unveiled a bold new concept in LED lighting for film and television applications; its latest generation of LED fixtures will include focusable LED-based lampheads with a true Fresnel light field. ARRI’s tungsten Fresnel lights are workhorses of the industry and relied upon by lighting designers the world over. By combining the cool-burning, energy-efficient advantages of LED illumination with the controllable versatility of traditional Fresnel fixtures, ARRI has taken the best of both worlds and created a truly revolutionary lamphead. The groundbreaking technology that has made this possible represents a milestone in the incorporation of LED technology into the film industry. In addition to a high quality light field, the new, focusable LED fixtures feature a

unique light engine with broad spectral distribution that provides the same vivid and lifelike color rendition as conventional tungsten sources. A further advantage is that existing front-end accessories can be used, making it far more economical for facilities to add the new fixtures to their inventories. Ryan Fletcher, ARRI’s product manager for LED lighting, comments, “The positive response from customers has been outstanding during field testing. No longer must lighting designers learn new ways of working or sacrifice homogeneity and control in order to gain the benefits of LED technology.” I

HMI ballasts for high-speed photography ARRI introduces a new generation of 1000 Hz High Speed Ballasts that meet the challenges of modern high-speed digital photography. The new ballasts make it simple to achieve high quality, flicker-free images at frame rates of 500 – 1000 fps and in many cases beyond. Behind this lighting breakthrough is new technology that supplies the lamp with a greatly raised 1000 Hz square wave current. 1000 Hz High Speed Ballasts are available for all wattages from 125 watts – 4000 watts, except 1800 watts.

An Tran

VISIONARRI

Photo: © Harry Stahl

(top left) DoP CHRISTIAN REIN,(bottom right) DIRECTOR CHRISTIAN DITTER with Wickie (Jonas Hämmerle)

Wickie the Mighty Viking, with almost six million viewers, was the most successful German feature film of 2009 in German-speaking territories. Encouraged by this tremendous success, producer Christian Becker of Rat Pack Filmproduktion and executive producer Martin Moszkowicz of co-producer Constantin Film decided to send the young Viking back into battle – this time in 3D. To ensure that Germany’s first live-action 3D film was a success even while shooting, Wickie set sail with the complete technical support of ARRI Rental and ARRI Film & TV. ARRI Rental supplied all the camera and grip equipment, including the complete 3D gear, consisting of at least four (but on some days up to eight) ARRI ALEXA digital cameras, two Codex Portable recorders and the on-set 3D playback and viewing equipment. Two midsize rigs from Stereotec were modified by ARRI Rental for the shoot and equipped with a motor, controls and a data capture system. “The rigs were so-called mirror rigs with a semi-permeable mirror,” says Harald Schernthaner, ARRI Head of Digital Filmworks. “We mounted the cameras onto those in an L-shape to create an intraocular distance of zero.”

The centerpiece of ARRI Film & TV’s involvement during the shooting of Wickie and the Treasure of the Gods was a completely self-contained post facility located in a mobile trailer. Fully air-conditioned, it housed two Codex lab stations, a 65” 3D monitor, a 2D broadcast monitor, a grading panel and eight seats for the daily screenings. “Mobility helps put to rest some of the uncertainties still connected with a 3D shoot,” says Schernthaner. “Using this new recording technique requires that you are able to react quickly; you can only guarantee that if there is a colorist and an additional technician – who can take care of the metadata, backups and deliveries – on the set.”

“THE COMBINATION OF FEATURES SUCH AS COLORGRADING, FRAME ACCURATE AND TRACEABLE QUALITY CONTROL AND QUICK RENDERING OF THE VARIOUS DERIVATIVES IS A MAJOR ADVANTAGE OF THE COLORFRONT ON-SET DAILIES SYSTEM.” The postproduction experts managing these assets were supported by the ARRI On-Set Dailies system, a software tool from Colorfront that is optimized for 3D shoots. Markus Kirsch, ARRI Head of TV Postproduction, says, “The combination of features such as colorgrading, frame accurate and traceable quality control and quick rendering of the various derivatives is a major advantage of the Colorfront On-Set Dailies system. It saves a lot of time and manpower.” Two ALEXA cameras recorded onto a Codex Portable in the HD Jpeg 2000 format; afterwards the data was sent to the trailer, where it was backed up

before being transferred to the servers and undergoing quality control. About an hour after shooting, feedback regarding the quality of the recorded data was available and, about an hour and a half later, the 3D images could be viewed on a monitor, color corrected and complete with the relevant metadata. Daily screenings of the 3D rushes took place in the on-set trailer after shooting had wrapped. All the footage was screened stereo-geometrically and checked with synchronized scratch sound and a color-corrected image. Simultaneously, the ARRI Colorfront software generated AVID 3D-MXF files

for the editing room, 3D Blu-ray Discs of the dailies, personalized DVDs with name burn-ins, and the ARRI Webgate derivatives for online viewing. Finally, all the data generated on the set arrived at ARRI on two sets of LTO 4 backup tapes to be stored in the data archive; over the course of the shoot 160 terabytes of data were accumulated. Grading metadata from the dailies and the stereoscopic parameters could be used without further modification later on during postproduction for the final grade and visual effects. I Ingo Klingspon

VISIONARRI

ON THE SET OF

After extensive preparation, the second installment of the Wickie saga began filming in August 2010. In late September VisionARRI visited the set in Malta and had a chance to talk with Rat Pack producer Christian Becker, writer/director Christian Ditter and DoP Christian Rein about their experiences after four weeks of shooting with the new ARRI 3D technology.

Why did Rat Pack Filmproduktion decide to make the latest Wickie film in 3D?

How does 3D affect filmmaking in terms of screenwriting and physical production?

Actually, we’d considered making Wickie the Mighty Viking in 3D, but at that time the technology here in Europe wasn’t advanced enough. Last year we agreed that we must shoot a German production of such large scope as Wickie and the Treasure of the Gods on the new ARRI ALEXA camera and in 3D. That’s why we contacted ARRI’s general manager, Franz Kraus, early on in 2009 to ensure that we could get the number of ALEXA cameras we needed – at the time we needed them – but also to develop our 3D ideas with ARRI.

Becker: Developing the script, we made sure that key scenes had the full 3D effect. A family film such as Wickie is meant to entertain, to fascinate, and there’s room for a bit of carnival attraction too; after all, that’s why we are making the film in 3D in the first place. That’s why there are passages in the screenplay where we describe the action in great detail, such as a head sticking out of the screen or spears and arrows flying right into the audience.

VisionARRI:

Christian Becker:

We had looked around to see what 3D technologies were out there and had spoken with a number of companies, but we finally realized that, even internationally, compromises prevailed. That’s why, in January of 2010, we got together with Manfred Jahn and Thomas Loher of ARRI Rental, as well as Florian Maier from Stereotec, to develop a rig system that’s tailor-made for the ALEXA camera. At the same time, a 3D task force at ARRI Film & TV developed a workflow for the 3D postproduction. 10

VA:

In terms of shooting, the process becomes pretty normal after a few days of getting used to it, even though 3D action and stunt scenes require a considerable amount of effort. Recently, we had ten cameras on the set, covering five angles, because we always need two cameras per unit. Also, 3D isn’t cut as fast; instead, the images and camera moves are more elaborately composed. That’s a particularly fun aspect of 3D.

Christian Ditter:

What changes for the DoP, especially when it comes to classical problem areas such as pans and focal length? VA:

For me this isn’t just my first 3D film but also my first feature film with a digital camera. Luckily, after doing the first tests with the ALEXA, I realized that I can use it like a traditional film camera. I had questions, of course. How does the camera respond? Where are the noise levels? What’s the exposure range? After all, there was no digital film camera on the market before the ALEXA that could have compared to 35 mm or that could have delivered comparable results in terms of image quality. The ALEXA is a huge step forward in that regard.

Christian Rein:

VA: How does dealing with two synchronized cameras change the way you work?

It’s definitely an entirely new way of working, even during preproduction. We didn’t have the technological infrastructure to shoot in 3D. When the ALEXA came out at the beginning of the year there was no master-slave function yet, but ARRI caught up quickly, making the ALEXA compatible right away. That and the new software updates were crucial to shoot the film in this way.

Rein:

ARRI FILM & TV’s mobile, self-contained post facility, which housed two Codex lab stations, a 65” 3D monitor, a 2D broadcast monitor, a grading panel and eight seats for daily screenings

As for 3D, I did a lot of research in advance, and it would be incorrect to say that nothing has changed in terms of the camerawork – you use different focal lengths and the equipment got larger again. It’s a bit like in the past, when you had lots of heavy equipment; you are not as fast and spontaneous; you have to plan more but in the end you do achieve the desired results. Also the focal length went down. For what we used to shoot with around a 40 mm, you now in 3D only need a 24 mm. The 3D experience is much more challenging for the audience; that’s why there are fewer edits and the pacing isn’t as fast. Now setups are combined to allow people to really enjoy what they are seeing. VA: As a DoP, where do you now find your place in this process? Do you have a monitor in front of you or are you still standing next to the cameras? Rein: It‘s a combination of both, because we’re also using a Steadicam. I do like to be situated so that I can see the set and the actor in the lighting. But you are, of course, a bit further away because we are working with lots of Technocranes and remote heads. It’s all a bit more technical and more removed. You no longer have that sense of immediacy, which you had looking through an optical viewfinder and being the first actual audience member seeing the film.

Also, you have a fairly large crew: there’s a stereoscopic team, a recording crew and the digital imaging technicians. We now have a camera crew of about 14 people; on 2D projects, shooting with two units, you would only need six people. VA: With the ARRI on-set lab and the stereographer, you can check results on location. Have you had to reshoot anything because it didn’t work the first time around?

The on-set lab is indeed a fantastic control mechanism, but so far we haven’t encountered any problems that required Rein:

reshooting due to stereoscopic issues. Florian Maier is a fantastic stereographer and we did a lot of prepping. The entire technical crew attended a workshop; it’s new for everybody but we are growing with the task. VA: Does shooting in 3D affect the lighting on set, or the use of depth of field? Rein: 3D is closer to what we actually see, which means subconsciously we want to see more, requiring that you look for more depth of field. That’s why we shoot with a wider aperture. In some situations you also need additional lighting. It can be very appealing when backgrounds get blurry, but the wider the setting the more you want to see, in which case blurry backgrounds would be distracting.

Otherwise, we light exactly the way we do on 2D films. Sometimes you have to make adjustments later during grading to sharpen the contrast because the 3D effect is greater when the images have more contrast. When the images are flat, the 3D effect gets watered down. VA: A

question for the director: how does 3D affect the way you work?

Ditter: One has to keep in mind that 3D is the perfect format to whisk people away into new and fantastical worlds they’ve never seen before, and that’s exactly what we try to accomplish with each setup. The great thing is that now we can not only show the audience this world, but we can also take them into it and sort of integrate them into it.

The main differences, in terms of directing, are that we have many sequences, the takes are very long and include a POV change, and there are fewer cuts. This means that the takes are also longer for the actors, but it gives them the opportunity to really flesh out a scene. I personally like that because it draws the audience into the story and you have the feeling you are there with them.

3D is actually enriching because you have an additional dimension to tell your story with. Before, you could choose the size of a shot and what you cut to, but now you have an additional choice; you think about how close you want to bring an object to the audience or how close you want to be to a character emotionally, or how much you want to distance yourself. That enriches the language of film. VA: How far ahead did you have to plan these specific storytelling elements? Ditter: We’ve always broken everything down prior to shooting with storyboards and a shot list – for every film. This process does have an additional step, the depth script, in which we decide, during preparation, how strong the 3D effect is supposed to be in each scene. In other words: are we grabbing the audience, pulling them onto a sort of roller coaster ride? Or are we letting them relax for a moment, giving them time to look around? That was the main task during our prep meetings. There are more options now in the language of film. In the past, when we wanted to draw attention to a detail, we cut to it; now we are pulling it out, so to speak, to direct the eyes of the audience towards it without narrowing their vantage point.

For me it was an amazing experience to see the visitors who came to the set standing in front of the 3D monitors as if they’d been hypnotized. Even when we repeated a take several times, the people could not take their eyes off of these images. I had the feeling that they were literally being pulled into it. I’ve never experienced that on any set, especially on an adventure film such as Wickie; it’s exactly what you hope for. People literally lined up in front of the monitors like they do in front of the box office. I hope they line up again at the actual box office! Wickie and the Treasure of the Gods is scheduled for release in September 2011. I Ingo Klingspon

VISIONARRI

WILL BEX on set with ALEXA

ALEXA makes low light Kylie promo possible Cinematographer Will Bex turned to the ARRI ALEXA when he was given the task of shooting Kylie Minogue’s music video for Get Outta My Way, the second single to be released from her current album Aphrodite. The video is a visual Kylie feast, with blonde dancers, glorious costumes and incredible lighting effects that were all created on the day, not in postproduction, using live interactive projections by Frieder Weiss. Directed by promo team AlexandLiane and produced by Jon Adams for Factory Films, the video involved shooting in low light and high contrast situations – the perfect scenario for the high sensitivity and dynamic range of ALEXA’s sensor. The ALEXA camera package and grip equipment was supplied by ARRI Media. The directors had toyed with the idea of incorporating Weiss’ light-bending projections into a music video for some time, but it wasn’t until the arrival of ALEXA that their concept could become a reality. “It was all about timing I guess – the right idea with the right artist, at the right time, and with the right tool,” says Bex, who shot the entire video at 1600 ASA, recording to HDCAM SR in 4:4:4 Rec 709 with an SRW-1 deck. “I just had great faith that we were in a good place with the ALEXA to work at such low light levels. Anyone who walked on that set realized just how low it was and I think with any other camera we’d have struggled.”

Having only seen the interactive projections on a laptop before the shoot, there was always an element of the unknown for Bex; not only was the shoot just one day, it was also his first experience working with ALEXA. “In my opinion, one-day music videos are mostly about risk, and you really need to stick your neck out for an idea,” he continues. “To try and achieve something interesting or even great in a single day is always a risk and you kind of work with that. But still, it was quite a relief when we were looking at our first setup to actually see an image we’d planned, that I wasn’t going to have to push. It was also reassuring to have enough of an exposure to facilitate both the projections and the beauty lighting that I needed for Kylie.” Bex found that ALEXA’s sensitivity meant he was much less restricted in his use of gels, so he took full advantage of the opportunity to fill his frame with primary color. “I have certain lighting gels that I love to use on film,” explains the cinematographer, “but you put an effects gel on the single

“TO HAVE THE OPTION OF THE ALEXA IMAGE, WHICH SEEMS SO INTUITIVELY LIKE FILM – THAT’S EXCITING.” lamp that you’ve just about been able to afford on the budget and it kills the light, depending on the density of the gel. Eventually those gels just become useless to you, unless you’re really up close; but I was finding I could use the gels, and I was only able to do that because the ALEXA saw them at an immeasurable exposure.” In fact, Bex was pleasantly surprised by just how much ALEXA could see and very quickly discovered that the camera required a different approach to lighting than he was used to. The cinematographer found himself considerably pulling back the key light he was using on Kylie. “It was practically out the door,” he claims, “and I had to put twice the number of frames in front of it just to soften the light right off; that was the one moment on set where I actually gasped. I was shooting wide open and couldn’t stop down because of the exposure of the projections.” Working at 1600 ASA and having to pull lamps back as far as they would go, Bex found that ALEXA’s extraordinary sensitivity to light rendered his usual methods of measuring exposure almost redundant. “Do cameramen shooting with the ALEXA in an environment like we were in have to retire their light meters?” asks Bex. “Probably not, but my light meter was a little useless to me on the day.” He jokes, “I just kind of kept hold of it to look like I knew what I was doing, but I couldn’t get a reading on it. I could just about read it on Kylie’s key light, but I couldn’t read it anywhere else. So my light meter was useless, but the ALEXA was seeing everything – that was the point.” Postproduction was at Rushes in London, where colorist Simone Grattarola – who has an established relationship with AlexandLiane – carried out the grade. The decision was taken to treat the ALEXA material as having the same latitude as

35 mm film. “Interestingly, our last two or three shoots with AlexandLiane directing and Simone colorgrading were on 2-perforation, so we had been in that 35 mm mindset,” says Bex. “I think that after a while we actually forgot what the format was, because sometimes in digital filmmaking that can be a major distraction, but we were really just doing fairly standard things to the image.” The fact that so much of the video’s final look was created on set meant the grade was relatively uncomplicated, although a certain amount of background had to be painted out due to ALEXA’s ability to penetrate the shadows. “There were all sorts of things in the shadows of the frame – like a bit of black drape on stands,” notes Bex. “On any other shoot I would not expect to see it in the back of the frame, but of course the ALEXA saw it and therefore it required cleaning up. That just gives you an indication of how much the camera was seeing. “Mainly, though, we had a great time in the grade,” continues the cinematographer. “I knew we were in a good place because normally after a shoot we’re exhausted, but we were all in high spirits because of the images we had. The color rendering held; every color hue I put into it just really, really held and everyone looked fantastic. The key is how subtle you can be with it and I’ve found that in the big rush of DSLRs and all those other branded cameras, it’s been really hard to find that low light subtlety. I felt it on that Kylie set because I would never, ever have achieved it in the past with another digital camera – it just wouldn’t have been possible.” Bex concludes, “To have the option of the ALEXA image, which seems so intuitively like film – that’s exciting. I think in terms of a direct comparison with 35 mm, I would say it’s close; I’m not going to call it film, but it is close. I would call it digital film.” I Michelle Smith

Photos: © Peter Jacoby

VISIONARRI

Client: Microsoft Agency: Wunderman, München Production Company: e+p commercial Filmproduktion, Munich Director: Moritz Laube DoP: Christian Rein ARRI Commercial Team Head of Commercial: Philipp Bartel Producer: Michel Schütz Flame Artist: Mikel Tischner 3D: Sven Constable, Dorian Argu

How to get ahead in

S3D ADVERTISING Orange smoke so dense that audiences will cover their mouths and noses just to be on the safe side; breathtaking stunts at dizzying heights; action so real it’s palpable: 3D advertising makes all this possible. Advertising agencies have been quick to capitalize on the fascinating possibilities of the three-dimensional experience, investing more and more time, energy and money in the production of 3D commercials. As a result, production companies and postproduction houses are faced with new and exciting challenges. A new 3D commercial for the global software giant Microsoft recently hit theaters; the 30-second spot was produced in a real 3D environment and is a collaboration of the production company e+p commercial, the advertising agency Agentur Wunderman and ARRI Commercial, all of which are based in Munich. It features a trail biker 14

for whom barriers, railings or walls are no obstacles. In the spot, the camera gets extremely close and personal as the rider goes up and down walls, doing the occasional summersault, jump or flip. The camera also captures the orange trail of chalk the daredevil leaves in his wake; at the end of the commercial, in a computer generated reverse zoom ending in a bird’s eye view of Berlin, this orange trail turns into the Microsoft Office logo. In order to produce three-dimensional effects of the highest quality, ARRI Rental created and tested a hardware infrastructure unlike anything ever before assembled in Germany. The commercial was filmed in July with a

crew of 60 people, over the course of two days in Berlin. It was shot on two ARRI ALEXA cameras and, for high speed recordings, two Phantom cameras; both camera systems were mounted on stereoscopic rigs. The ALEXA footage was recorded to synchronized HDCAM SR recorders as well as in ProRes to a QTAKE video assist unit. A 3D monitor and the necessary 3D eyewear was made available for on-set viewing purposes to director Moritz Laube, DoP Christian Rein, agency representatives and the client. This provided helpful feedback about the three-dimensional effects, which benefited the team during the shoot.

An English stereographer and her team were hired to analyze the calculations for the 3D component of each shot. ARRI’s own 3D team was on hand throughout and was consulted early on during preproduction in order to create the desired three-dimensional effect, in close coordination with the director and the DoP. It was also of great importance to work out the transitions from one individual shot to the next, in terms of their three-dimensional effect. Quality control of the 2D and 3D streams was undertaken at ARRI Film & TV Services in Berlin and Munich throughout the shoot. Afterwards the digitally recorded data were loaded onto the FrameCycler in Munich to be analyzed and adjusted to ensure consistency during the 3D application. Offline editing was completed on a specially upgraded 3D AVID with real time 3D viewing capabilities. Once the offline edit was approved after a screening in ARRI’s 3D cinema, which can seat up to 500 people, the online and VFX work could commence with the help of the previously generated EDL. The challenge at that stage was to enhance the CGI particles of the chalk dust so they would become a stylistic element and to place them in the space in such a way that they created the illusion of being within the viewer’s actual grasp. Color correction was completed on the Lustre system, also in a real time 3D environment. Compared to a 2D production, this entailed one new and

important step: depth grading. If certain parameters are taken into consideration during this step, then the 3D effect can be significantly altered to create the desired look. In this case, after consultation with the director and the DoP, objects in the frame were repositioned and placed either behind or in front of the screen. Adjusting the dynamic convergence of both camera angles resulted in even more seamless transitions from one 3D scene to the next. During the final phase, ARRI also created the digital release package (DCP). 3D productions are far more involved than ‘regular’ 2D projects; it was vital to address the rules of stereoscopic production at a very early stage in the process. In this case the task was completed without any major hitches thanks to ARRI’s experienced team, which devised one-of-a-kind hardware, and the e+p crew’s careful preparation: a great accomplishment, considering 3D production is still in its infancy. “The result was absolutely convincing,” says Hansjörg Fuhrken, artisitic director at Wunderman, Munich. “No gimmickry, just brilliant, atmospheric images that create an emotional connection to the product and that we haven’t seen before; just as our client, Microsoft – who asked for a high-tech spot for their innovative product – had envisioned it.” I MSPB

VISIONARRI

The new Opel Meriva in S3D

Photos: © Lucie_p

“WE ALSO CREATED A SPECIAL 3D KNOW-HOW FOR COMMERCIALS THAT NOW EXISTS HERE AT ARRI.”

ARRI Commercial recently set another milestone by creating one of the first 3D commercials in Europe, on behalf of automaker Adam Opel AG and its production company lucie-p. The subject of the commercial is the new Opel Meriva, which, thanks to a number of innovations, will set new standards in the MPV class. Celebrating this achievement with a state-of-the-art 3D spot is not only timely, but also accentuates the bold design concept behind the Meriva. Its Flex Doors, and in particular its rear-hinged back doors, are unique features and highly suitable for capture with 3D technology. The commercial presented two challenges: the source material for the first part of the spot preexisted solely in 2D and also there was no reliable software for 3D postproduction on the market at that time. Moreover, the time constraints were brutal – a situation not uncommon in advertising. All in all: not an easy task, especially since 3D has its own challenges. To create the impressive threedimensional experience, objects have to be shot from two slightly different angles. Both versions are then projected side by side and simultaneously onto one surface so that they can be viewed with 3D glasses. This not only necessitates additional work steps and the observance of certain parameters during physical production, but also poses a number of challenges during postproduction. For example, for each of the known work steps in 2D production (offline and online editing, VFX, color correction and so on) a corresponding post setup

meeting 3D requirements needs to be created. This in turn puts the hardware and software to the test if real time images are called for. The human factor, of course, is key as well: teams with 3D experience are a must. Transitions and edit sequences have to be thought through to ensure that they do not disorientate viewers. There is also a new, additional step at the end of the 3D postproduction process: depth grading. These depth

conversion and would result in appealing 3D images; these decisions had to be made before any thought could be given to the postproduction pipeline. “It meant more than anything else that we were dealing with a whole new challenge,” says Michel Schütz, who was responsible for the postproduction. “What we needed, among other things, was a completely new setup, which we’d have to develop and implement here at ARRI.”

“IT WAS DEMANDING AND WE HAD TO VENTURE OUT INTO UNDISCOVERED TERRITORY: NOT AN EVERYDAY TASK BUT WE WERE ALL VERY ENTHUSIASTIC.” adjustments generally involve repositioning individual objects in the frame, moving them behind or in front of the screen, thereby enhancing the 3D effect and/or setting creative accents. The task at hand involved converting the existing 2D footage into 3D footage. The first challenge in this process was to decide which shots were suitable for

First, the existing 2D material had to be analyzed: which images would work in 3D and which couldn’t be converted in a meaningful way. “We were very excited when Opel approached us with the demanding task of giving an existing 2D TV spot the Avatar treatment,” recalls Tina Maria Werner, general manager of Filmproduktion lucie_p. “After we inventoried the material we realized we

were facing tremendous technical challenges. Analyzing the situation with the experts on the ARRI team, it quickly became clear which technical solutions had to be used. Mind you, there were no empirical precedents: those, we generated as we went along.” What followed was a fascinating process: all objects that were selected to stand out from the background had to be individually cut out electronically in a process called rotoscoping. Then they had to be repositioned for the other eye to produce the desired 3D effect. This, however, meant that there was now a hole where the object had been, which needed to be filled. The solution: to ‘paint’ the information back into that hole (using, among other things, matte paintings), resulting in a perfect 3D image. “We were well aware that this would entail a great deal of effort,” continues Werner. “To turn 25 seconds of 2D footage into 3D means manually manipulating 525 frames. We had the added challenges of dealing with moving individuals in the shot and creating the perfect look for the Meriva, which involved giving the car an oscillating finish. Plus, we were under significant time pressure to finish the theatrical spot by the time Toy Story 3 opened in theaters. It was demanding

and we had to venture out into undiscovered territory: not an everyday task but we were all very enthusiastic.”

3D commercials are now an exciting, reasonable and affordable option at ARRI.

The final part of the spot, consisting of CGI-generated driving scenes, was created in 3D by the specialists at Saasfee in Frankfurt (exteriors) and RTT (interiors) in Munich.

More than 600 3D copies of the 60-second Opel spot were sent out to German movie theatres over the summer. There are also 3D screenings on 3Dcompatible TV sets in outlets of Media Markt (a large consumer electronics retailer in Germany), and on the internet: a 90-second anaglyph version can be seen at www.opel-meriva.de. And the number of Opel Merivas ordered so far is just as impressive. I

ARRI was responsible for the entire technical process, the team was very pleased with the final result and the highly efficient workflows. “The clients – Opel and lucie_p – were very happy all around,” says Philipp Bartel, Head of Commercials at ARRI. “That’s what is most important. In terms of the budget and the timing we came in as expected, but we also created a special 3D knowhow for commercials that now exists here at ARRI.” This know-how will benefit all current and future 3D commercial productions at ARRI, where all of the hardware, software and expertise required for 3D workflows is assembled under one roof. Not only that, but ARRI also offers the optimal equipment and production knowledge needed on set through its rental division, and provides the perfect screening and presentation facility in its state-of-the-art screening room. Thanks to refined and improved applications, as well as optimized workflows,

Peter Pott

Client: Adam Opel GmbH Agency: MRM Worldwide GmbH Production Company: lucie_p GmbH Management: Tina Maria Werner Directors: Joe and Ben Dempsey DoP: Ben Davis BSC ARRI Commercial Team Head of Commercial: Philipp Bartel Producer: Michel Schuetz Online: Mikel Tischner Colorist: Stefan Andermann, Rainer Schmidt 17

VISIONARRI

DOWNTON A BBEY David Katznelson on using the D-21 to shoot ITV’s lavish new period drama

Downton Abbey was filmed with ARRIFLEX D-21 cameras supplied by ARRI Media and a lighting package supplied by ARRI Lighting Rental. Cinematographer David Katznelson, who shot five of the seven episodes, spoke to VisionARRI about his work on the series. VisionARRI: How did you set about visually exploring the contrast between life above and below stairs at Downton Abbey?

Well the upstairs was shot on location, at Highclere Castle, and the downstairs was on sets built at Ealing Studios, so that affected it. I suppose you get inspired in a different way being on location; but then being on a set gives you other options and you’re not dependant on things like the daylight. The main idea was to make the upstairs look colorful, rich and reasonably bright, while the downstairs was a bit more muted and drained of color, which we partly did in the grade and partly in the production design. In terms of camerawork we went with wider lenses and smooth Steadicam or dolly shots upstairs, whereas downstairs we did a lot of handheld operating to give it more energy. That reflected the performances, which are more composed upstairs, in contrast to the hustle and bustle below.

David Katznelson:

Did you shoot all of the location scenes in one block and all of the studio scenes in another block, or were you moving back and forth between them?

Photos: © ITV

VA:

DK: If it had been a one-off drama we would have finished one before moving on to the other, but because it was a series with

Were you inspired by the fact that England in 1912 was a world on the precipice of a technological revolution that would change almost everything? VA:

That’s very much part of the story, yes. So for example electricity has just been installed upstairs on the ground floor at Downton Abbey, while downstairs they’re still using candles and oil lamps, which is why it has a slightly duller and darker look. There’s a great scene with Maggie Smith – who is of course part of the upstairs lot – saying that she can’t bare electrical lights because she thinks they give off glare and a bad smell. Then later a telephone arrives and we had to try and illustrate the weird sensation it must have been for them to be able to speak with someone they can’t see. So we were all aware of wanting to give it a sense of modernity; to give it a bit of a fresh look and not go with some of the conventions associated with period dramas.

DK:

VA: You were working with Otto Stenov as your gaffer; what kind of lighting solutions did you come up with?

Written and created by Julian Fellowes, who won a screenwriting Oscar for Robert Altman’s Gosford Park in 2002, Downton Abbey is a lavish new period drama produced by Carnival Films/NBCU for ITV in the UK. Set in an English country house in 1912, it portrays the lives of the aristocratic Crawley family and the servants who work for them. David Katznelson and David Marsh served as cinematographers on the series, while directorial duties were shared between Brian Percival, Ben Bolt and Brian Kelly.

Generally speaking we used very soft lighting; pretty much everything was bounced into poly boards, or a lot of the time we used Chimeras and put frames between the subject and the Chimeras to get the light as soft as possible. I don’t think we actually ever used candles or oil lamps as a sole solution; we pretty much always supplemented them with something, just to get a reasonable exposure so the blacks didn’t go too milky or noisy. But we did have a lot of the fixtures on dimmers so we could change the color temperature and get everything reasonably warm. It has to be said that quite a bit of the warmth was taken out in post afterwards, and sometimes I think it has possibly been lifted a little bit too high, but I suppose that’s the trade off with doing something reasonably mainstream for ITV.

DK:

DAVID KATZNELSON at work with the D-21

three different directors, spanning several months, we did go back and forth a lot. Highclere Castle is a private home and they had quite a busy diary, with conferences, weddings and private visits from rather important people, so we couldn’t plan it exactly as we wanted to. We basically moved back and forth between Highclere and Ealing every two weeks, although sometimes we were only at Highclere for a couple of days at a time. That did make it hard; there were a few gambles in terms of the weather, especially because some of the rooms at Highclere have such great big windows and we were shooting through the summer. If the sun is shining and you’ve got ten huge windows, trying to control the light is nearly impossible.

DOWNTON ABBEY

ALMANYA

VISIONARRI

A journey through Turkish-German history with digital colors & effects ARRI Film & TV and ROXY FILM first collaborated on the tremendously successful feature film Grave Decisions in 2005. Since then they have completed several projects together; most recently, ARRI Film & TV created the visual effects for Dagmar Hirtz’s television drama The Midwife. Next up, following their current collaboration on Almanya, will be the postproduction of Marcus H. Rosenmüller’s latest feature film, Orange.

VA: Did the design department have to build and install practical fittings appropriate to the period?

In Highclere Castle everything was incredibly precious and we basically had to use what they had, supplementing it with just a few lights that the art department brought along. But actually the lights they did have were from the right period; they hadn’t been changed or maintained since the castle first got electricity. So they were the right fixtures and they were mainly on dimmers as well, which made it really handy. At Ealing Studios we had the lights built into the set of course, and then had everything going back to a dimmer board so we could take them right down. Mainly we would try and keep them at a level where we could see the detail of the lamps and whenever we were very close to lamps we would use real oil lamps or candles so there was no doubt about the source of the lighting.

DK:

This was your first shoot with the D-21; what made it the right camera for this production? VA:

I really enjoyed working with the D-21. We knew from day one that we were going to be shooting digitally, so we looked into the various top-end digital formats and actually tested most of them to see what would best suit our needs. I have to admit that at quite an early stage I felt the D-21 would be my preference, simply because I enjoy operating and find it really hard operating with viewfinders that aren’t optical. Looking at a digital image as you’re operating is just very hard; digital viewfinders are much better than they used to be, but there is something about the D-21 that makes it more like a film camera than other digital options.

DK:

VA:

In Almanya – Welcome to Germany, co-writers Nesrin and Yasemin Samdereli tell the entertaining story of a Turkish family who arrived in Germany three generations ago. Now, at their grandfather’s request, they travel to the country their family once called home. Yasemin Samdereli made her directorial debut with the film, which was shot in Izmir and Munich. “Almanya is very dear to my heart,” she says. “That’s why it was great see that with ARRI I had a partner by my side who was caring, creative and patient in dealing with my project.”

What did your testing process involve?

DK: We did both interior and exterior test shots, and tried to see what the dynamic range would be. We knew the downstairs scenes would have less light, so we did tests to see how much exposure we would actually get if a character was walking down a corridor with just a candle or a little oil lamp. I really liked the results that we got, and of course you can instantly see what they are like; I just loved the feel that came from that camera. VA: Your recording solution was Log 4:2:2 to P2 cards; did that help with the handheld operating?

Together with my focus puller Paddy Blake and the operator who started out on the show – a guy called Jeremy Hiles, who is a really great operator but who unfortunately couldn’t finish off the shoot – I started looking into how we could break the D-21 down. We wanted to find the best possible configuration for our handheld shots and for Steadicam work as well, which Jeremy did quite a bit of. We basically ended up taking the P2 recorder off the camera and buying some bags to put it in. Doing that made for quite a good system; the camera was OK to operate handheld or on a Steadicam rig and then we just had the assistants running along with the bag, trailing the shot with the operator. I

DK:

Following huge critical and ratings success, ITV has ordered a second eight-part series of Downton Abbey from Carnival Films for 2011. Mark Hope-Jones

DIGITALLY INTEGRATED: an actor was filmed in front of a greenscreen and then combined with documentary footage

ROXY FILM brought ARRI Film & TV on board to complete the visual effects and the DI. “We liked the project from the get-go because of its great story, and after we saw the first rough cut we were downright enthusiastic,” says VFX producer Nina Knott. “You can tell, watching the finished film, that this was a harmonious collaboration between the production company and the director, as well as the editor, Andrea Mertens.” The producers, Annie Brunner, Ursula Woerner and Andreas Richter, relied on ARRI’s renowned technical standards, but also on its artistic abilities to design certain narrative elements. For Almanya, over 50 VFX shots were designed, supervised and produced at ARRI. After reading the screenplay,

HISTORICALLY INACCURATE elements were removed from shots

Nina Knott and Creative Director Jürgen Schopper created sketches of initial ideas and drew up a cost estimate. “The tasks included everything from retouching to removing elements that were historically inaccurate and creating digital sets,” recalls compositor Abraham Schneider. “We even inserted one of the actors into documentary footage and the result looks absolutely convincing. To accomplish that we had to adjust the movements of the main actor so they would match the movement of the other people and of the camera.” Manfred Turek color graded the images shot by DoP The Chau Ngo in the Lustre suite. The seasoned colorist reports, “Almanya really went for color! The story is told on three different time levels and it was great fun for me to work on the color palette of each period. I tried out a lot of new things and pulled every trick in the grading book, so to speak, to give each epoch the right look.” I Almanya will open in theaters in March 2011.

VISIONARRI

Honouring the The ALEXA universe Original Vision

expands

Remote Control Unit RCU-4

Updates and accessories extend the ARRI ALEXA toolset

The Remote Control Unit RCU-4 is a compact and robust, cabled remote for the ALEXA and ALEXA Plus cameras. Having the exact same layout, display, buttons and other interface elements as the ALEXA cameras, it has a zero learning curve. All settings that can be made on the cameras can also be made remotely from the RCU-4, which is especially useful for 3D projects where the cameras may not be easily accessible in the 3D rig, for crane shots and for having an operator’s control panel on the camera's left side.

Wireless Network Adapter WNA-1 The Wireless Network Adapter WNA-1 is an accessory for the ALEXA range of cameras that allows any device with a WiFi connection to communicate with the cameras. This opens up a wide variety of options and opportunities, including camera remote control, metadata input and output, automated record keeping and easier sharing of information on the set. Since the ALEXA cameras are designed as web servers using the Bonjour protocol, any iPad, netbook, laptop or other WiFi device with a browser can connect to the cameras automatically, without any configuration. Each ALEXA has a basic remote control web page built-in: the Browser Remote Software (BRS-1). A camera control protocol, to be released later, will allow third party app developers to access ALEXA’s functions and metadata.

ALEXA Low Mode Set LMS-3

ALEXA has been designed from the very beginning to be more than just another digital camera; it is a platform – a camera system that will accommodate a wide range of upgrades, extensions and accessories, now and into the future. All of the new products shown on these pages are based on this thoroughly modular and future-proof architecture. While the new ALEXA Plus model has an advanced electronics side cover for integrated remote control, the RCU-4 and WNA-1 extend the remote control options of both models by making the most of ALEXA’s carefully crafted network capabilities. A set of cables for 3D sync and a low mode set further expand ALEXA’s applications, unlocking some of the tremendous potential of the ALEXA system. It is the camera’s expansive design that makes this possible, and that promises many more exciting advances in the future. The ALEXA Plus is an upgrade to the ALEXA camera, adding built-in wireless remote control, the ARRI Lens Data System (LDS), an additional MON OUT video output, an additional RS power output and built-in position and motion sensors. Both ALEXA and ALEXA Plus share the same exceptional image performance, are simple to operate, reliable in even the most extreme environments and versatile enough to cover a diverse range of workflow and budget requirements. The ALEXA Plus will be available from March 2011 as a stand-alone product or as an upgrade to existing ALEXA cameras. 22

The ALEXA Plus has all the features of ALEXA, as well as: • Built-in remote control features – ARRI Wireless Remote System (WRS) functionality – real-time wired or wireless remote control of lens functions and camera REC/STOP • Built-in ARRI Lens Data System (LDS) – lens mount incorporates new LDS contacts – numerical lens data and depth of field display in viewfinder and MON OUT – lens metadata in ProRes, HD-SDI and ARRIRAW – easier speed/iris ramps – lens Data Archive (LDA) for use with non-LDS lenses • Lens synchronization for 3D • A second MON OUT output (1.5G HD-SDI) • A third RS accessory power output

Custom designed for the ALEXA system, the Low Mode Set LMS-3 consists of a low mode plate and three feet. The low mode plate can be attached directly to the camera’s top for the lowest possible profile, which has already proven a popular option for upside-down ALEXAs on 3D rigs. The feet allow the plate to be raised to accommodate the Viewfinder Mounting Bracket VMB-1, Battery Adapter Top for Gold Mount (BAT-G), Battery Adapter Top for V-lock (BAT-V) or other accessories. Seven rows of 3/8-16 mounting points on the plate provide just the right balance for a myriad of camera configurations. Additionally, the plate has mounting points for the Viewfinder Mounting Bracket VMB-1, the ALEXA Camera Center Handle CCH-1 (which must be mounted in reverse to ensure that the tape hook of the HEB-2 is still in the proper sensor plane position) and the 235 and D-21 low mode handles. Extra 3/8-16 mounting points on the front and side edges and two tape measure hooks make this an extremely versatile low mode set.

ALEXA 3D Cable Set Much has been learned from the large number of ALEXA 3D projects that have already been shot using beta software of ALEXA’s sophisticated 3D synchronization algorithms. The software is now available for all ALEXAs, facilitating stable and precise synchronization of two ALEXA cameras through the ALEXA EXT to EXT Cable. This cable accurately synchronizes the sensor timing and locks the HD-SDI outputs of both cameras without lag or jitter, assuring compatibility with most 3D monitoring and recording solutions. In order to simplify the setup and operation of two ALEXAs on a 3D rig, the ALEXA Ethernet to Ethernet Cable allows automatic synchronization of both cameras’ settings. The ALEXA 3D Cable Set includes both of these cables. I

• Built-in position and motion sensors • Quick switch BNC connectors – can be exchanged without camera disassembly 23

VISIONARRI AN ACTRESS was filmed suspended from a rig to create a scene where the lead’s mother appears as an angel

Parts of the story of Three are told simultaneously in animated split-screen sequences, a special assignment for ARRI’s VFX department in Munich. “Tom Tykwer is a loyal customer of ARRI’s VFX team,” says Dominik Trimborn, ARRI Head of VFX, who was in charge of the visual effects work on the film.

PARALLEL LIVES

ARRI posts Tom Tykwer’s Three in 4K

TOM TYKWER

In the tradition of a Lubitsch tragicomedy, Three tells the story of Hanna (Sophie Rois) and Simon (Sebastian Schipper), a Berlin couple in their forties who have been through all the highs and lows of a relationship – extramarital affairs, miscarriages, separations and reunions – without allowing resentments to consume their lives. It is a love affair that has discreetly faded over its 20-year duration, without hope of reigniting. That is, however, until Adam (Devid Striesow) walks into their lives – a manifestation of coincidence or fate, depending on how you look at it. Unbeknownst to the other, Hanna and Simon both have a liberating affair with Adam, which, in turn, has an unexpected positive emotional effect on their stale relationship.

Three is the first film director Tom Tykwer has made in his native Germany for ten years, having spent the last decade at work on major international productions such as Heaven, Perfume: The Story of a Murderer and The International. It is a very personal film for Tykwer, as he wrote the original screenplay – a story that marks a return to his professional roots in Berlin. Three also stands out for technical reasons: it is the first German 35 mm production to be finished entirely in 4K. Once again, the renowned and respected filmmaker decided to rely on the technical support of ARRI Rental and ARRI Film & TV in Berlin and Munich.

In Three, Tykwer takes a close look at the emotional lives of his generation and, through his protagonists, examines questions about love, morality, gender roles and the viability of long-term goals. The film is also a homage to Berlin, as only someone who’s been away from the city for an extended period can make. During ARRI’s initial conversations with Tykwer and his longtime cinematographer Frank Griebe, it became clear that they intended to shoot the project on 35 mm with anamorphic lenses. “A negative exposed with anamorphic lenses has double the resolution across its height,” says Harald Schernthaner, ARRI Head of Digital Filmworks. “That’s why we wanted to work in 4K. We wanted to carry this maximum level of quality that the negative is capable of storing over into

the digital world, since this type of resolution, definition and brightness can only be maintained in 4K. In terms of the workflow there isn’t much difference between 2K and 4K, except that certain steps, such as scanning, rendering, copying or recording, take longer because the data amount has quadrupled, which also means that more storage capacity is needed.” For The International, Griebe shot 10 minutes of material on a 65 mm camera and finished it in 4K at ARRI; this time the entire movie was in 4K, including some 60 visual effects shots. The film was produced by Tykwer’s regular collaborator, Stefan Arndt, of X Filme Creative Pool. It was co-produced by the WDR, ARD Degeto and arte. Additional funding came from the Filmförderungsanstalt (FFA), the

Medienboard Berlin-Brandenburg, the Filmstiftung NRW, and the Deutschen Filmförderfonds (DFFF), as well as the Beauftragten für Kultur und Medien (BKM). ARRI Rental Berlin supplied the equipment for the shoot, which started in September 2009. The camera package consisted of an ARRICAM Studio and Lite, and an ARRIFLEX 435, as well as anamorphic and 40 - 200 mm zoom lenses from Techno Cooke. The lighting kit included, among other things, an 18K ARRIMAX, while the grip package incorporated GF8 and GF16 cranes, along with a 30’ Scorpio telescopic crane and Mini-Scorpio remote head. “We were particularly proud to organize the scope lenses through good contacts in Paris; they’re what gave the film its unique look,” says Ute Baron, ARRI Rental Branch Manager in Berlin.

Three sequences in particular created interesting challenges for ARRI’s VFX experts. One of them is the opening sequence, which foreshadows the events to come. Looking out of the compartment window of a moving train, we see two parallel overhead wires above the adjoining railroad tracks. At times these parallel wires seem to converge, only to move apart again. Occasionally, there’s a third wire, which quickly disappears again. A voiceover, perfectly synchronized with the images, reveals that this “wire dance” is a visual metaphor for the ups and downs of the love affair. To ensure the precise overlap of audio and video, the wires and the mast were rendered as a 3D animation that was later combined with footage shot from an actual train compartment window. This opening scene is featured in the film’s trailer, which can be viewed on YouTube. The trailer became an instant hit with the online community, which lauded it as one of the best trailers in a long time – high praise that thrilled ARRI’s VFX team. The second challenging sequence shows Simon’s deceased mother (Tin Drum star Angela Winkler), who appears to her son in the streets of Berlin as an angel before ascending into the sky. To make the zero gravity effect that Tykwer had in mind look realistic, the actress had to be filmed suspended from a rig, sometimes up to 10 meters above the ground. “A lot of prep went into that,” Trimborn points out,

“including 3D previews to precisely choreograph the movement of this complicated tracking shot in advance.” Particularly labor intensive was an animation sequence in full CG (Autodesk 3ds Max artist: Michael Koch), during which the camera moves in on an elaborate model of a fetus, including veins and skin, swimming in amniotic fluid in a womb. Color grading got underway during August 2010 in the Lustre suite at ARRI Film & TV in Berlin. As on Perfume: The Story of a Murderer and The International, Tom Tykwer relied on the grading skills of ARRI Lead Colorist Traudl Nicholson. The chosen look was intended to convey a unique Berlin feeling, but one that was different from the typical postcard portrayals – a Berlin authentically representing the milieu of the film’s protagonists. “You could tell it was Tom’s screenplay – Tom’s film,” recalls Nicholson. “He knew every nuance; he was relaxed; he knew exactly what he wanted and took a lot of time. He was very present, so we were able to finish in two weeks.” Three was also the first film to be finished in the newly established sound department at ARRI Film & TV Services in Berlin, which branch manager Mandy Rahn is very pleased about, “because now the sound design can be completed right here in Berlin as we are processing the images.” Finally, the color corrected data was rendered at ARRI Munich, and a 4K recording back to film and a 4K Digital Cinema Package were also generated – both superior to that of a finish in 2K. In September the film celebrated its world premiere in competition at the 67th International Venice Film Festival. I Ingo Klingspon

A LABOR INTENSIVE ANIMATION sequence was created, during which the camera moves in on a fetus in a womb

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KIDNAP& RANSOM

Waking the Dead is still shot on Super 16 mm, but the D-21 became my first choice for Bouquet of Barbed Wire (also for ITV and broadcast in September 2010), the first major project that Trevor had undertaken on HD. The D-21 images from Bouquet looked fantastic and Trevor’s concerns were overcome. I needed to be sure that the camera system would be able to deal with the exterior/interior contrast levels and the intensity of the African sun, so I did extensive testing in South Africa with the Red and D-21 side by side (and, interestingly, the Canon 5D), which confirmed my thoughts – the D-21 outperformed the Red in all areas, but particularly in its ability to deal with information detail in intense whites and on metallic surfaces. However, it was not solely the quality of the image that was a consideration, but also the speed at which we would have to shoot. On Bouquet we often only achieved 12-15 setups a day due to the nature of the piece, but our film references for Kidnap & Ransom were Kingdom and Man on Fire, so to have any hope of achieving the coverage and style of film that we wanted, we needed to shoot in excess of 50 setups per day! Andy Wilson, the director, and I decided that Kidnap & Ransom would be shot almost entirely handheld, with two cameras running all the time. I wanted to capture the highest quality images and decided after much deliberation to shoot onto an SRW-1 deck, which obviously also helped in keeping

the camera weight down; I never felt restricted by cabling. One key difference between shooting this kind of film on a TV budget in the UK and in South Africa was the crewing levels. Our budget allowed us to fully crew two cameras, with an A-camera operator, (I operated the B-camera), two focus pullers, two 2nd ACs, one trainee, one DIT, two video technicians, a key grip and three assistants. Consequently production never waited for camera and every single day we achieved our 50 setup target, even reaching 73 setups on one particular day! Andy Wilson had just had an experience with the Red camera and didn’t think this kind of shooting would be possible on HD – he is now a complete convert to the D-21! Cameras, Ultra Prime lenses and all our support came from Media Film Service in Cape Town, as did the main lighting package; their backup was fantastic. We shot 4:4:4 Log and all HD postproduction was undertaken at Ascent 142, where I finally managed to work with colorist Jet Omoshebi, who did an amazing job. The finished result is quite stunning and it is an exceptional piece for TV – very American in its style and a rollercoaster of a film! Kidnap & Ransom airs on ITV1 in January 2011 and is already in development for a further series in 2011/12, having attracted interest from the US. I Mike Spragg

MIKE SPRAGG on location with the D-21 (bottom centre & right)

CINEMATOGRAPHER MIKE SPRAGG DESCRIBES WHY HE CHOSE THE ARRIFLEX D-21 FOR ITV’S HOSTAGE DRAMA Kidnap & Ransom is a three-part film for ITV, scheduled for transmission in January 2011 as part of the network’s New Year launch programming. Produced by Projector Films, it stars Trevor Eve as Dominic King, a hostage negotiator whose job takes him all over the world facilitating the safe release of kidnap victims. Though rarely in the public eye, hostage negotiators are a fact of modern life, and many professionals with large international organisations have insurance policies to cover them in the event of being taken hostage. It is the negotiator’s role to secure their release, but also to negotiate the minimum ransom payment, as they are usually being paid by the insurance companies. Dominic King starts the film in Bolivia, where he experiences his first failure when the hostage is returned dead. Before long, a second hostage is kidnapped in South Africa and King starts the negotiation process again, but with the memory of his recent failure clearly on his mind. The idea for Kidnap & Ransom is one that Eve has been developing for a few years and now that Waking the Dead is coming to an end at the BBC, it was finally possible to get the project off the ground. Because of the international nature of the story, a significant part of the project needed to be filmed 26

overseas. South Africa and particularly Cape Town were used as real locations and after extensive recces it was decided that Cape Town would, with the exception of one days’ filming on London’s Paddington Street, also double for London, Dorset and Bolivia. As with all TV drama budgets, it was crucial to shoot as quickly and cost-effectively as possible; this was another reason for shooting in South Africa. Principal cinematography was budgeted at only 31 days for three ITV screen hours. Our next consideration was the choice of format and kit. Waking the Dead has traditionally been shot on Super 16 mm and Eve was very wary of the HD world; he was hoping to shoot 35 mm but Bill Shepherd, our line producer, made it clear that this wasn’t an option and that Super 16 mm would not conform to ITV’s HD requirements. Every year since I started shooting on Waking the Dead, the question of HD has been raised and in 2009 we shot extensive tests for the BBC to determine which system was most appropriate for us. After testing Genesis, Sony F35 and 900, ARRIFLEX D-21, Red and Panasonic Varicam cameras, it became clear that the most filmic camera was the D-21. 27

Photo: © Brigitte Maria Mayer

Oberammergau shines

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For the 41st time since 1634, a passion play took place in Oberammergau, Germany this year. The decennial event, once solely a local religious tradition, has long garnered international attention, bringing half a million people to this small town in Upper Bavaria. Berlin-based photographer Brigitte Maria Mayer was commissioned last January to document the most recent production for the official coffee table book, to be published by Munich’s Prestel Verlag, an imprint of Random House. Lighting equipment for this logistically complex photo shoot was supplied by ARRI Rental Munich. The project required meticulous preparation. Every scene of the production had to be specially staged and lit with professional film lighting equipment in order to give the photos the radiance of a painting – an effect that could not have been achieved with the lighting designed for the play. Storyboards were drawn up and the layout created in collaboration with artistic director Christian Stückl, who directed the most recent passion play together with costume/production designer Stefan Hageneier. Mathias Feldmeier was responsible for the lighting design; one of his main challenges was lighting the stage for scenes involving up to 500 performers, prior to their arrival, and having very little time to make adjustments once they were actually on stage. He began by installing a 36-meter silk sheath that protected the outdoor stage from direct sunlight. 18K ARRIMAX units and 12K ARRISUNs were placed on a 28-meter riser that functioned as a key light, while fill was provided by 12K and 20K Fresnels. 28

Photo: © Benedikt Geisenhof

Photo: © Andrea Göttler

Elaborate photo shoot documenting the 2010 Oberammergau Passion Play with lighting equipment from ARRI Rental

EVALUATING THE RESULTS: photographer Brigitte Maria Mayer, Christian Czech (responsible for image processing), director Christian Stückl and costume/production designer Stefan Hageneier

20 Par 64 CP60/61 fixtures helped brighten certain areas and a Wendy Light was used to mix warm and cold light sources. Backgrounds were augmented with flash units, though it was a challenge to combine flash sources with film lights. The spread was shot digitally with a Hasselblad H3DII-50 camera; data was immediately transferred to a server (Apple iMac 27“, 16GB RAM) and inserted into the ready-made coffee table book layout. A mobile workstation, consisting of a computer, camera and a backup RAID, was set up on a 12-meter crane to provide Brigitte Maria Mayer with unrestricted movement regardless of the angle. Images were previewed in their actual size using Hasselblad’s Phocus software, providing optimal control over lighting, depth of field and color temperature, and allowing for precise corrections of a particular composition while still on set. Another concern was not to try the patience of the performers: at times up to 500 of them had to endure temperatures hovering around freezing on the outdoor stage. Rough layouts of motifs composed of several shots were quickly generated in Photoshop. The results were then evaluated and selected on set. After shooting wrapped, Christian Czech transferred the recorded data into Photoshop on an Apple PowerMac workstation for finishing. The transfer was usually performed the same night. I Mathias Feldmeier/Brigitte Maria Mayer/Ingo Klingspon

New ARRILITE lighting fixtures Due to the continuing popularity of its ARRILITE range, ARRI has announced two new fixtures that represent the next generation of these traditional, open-faced lights. The ARRILITE 750 Plus and ARRILITE 2000 Plus have been completely redesigned, offering a modern take on a well established lighting concept. With improved functionality and simplified maintenance, they perfectly cater to the demanding production environments of today’s film and television industries. Despite being compact and lightweight, the new ARRILITEs exemplify the rugged and durable build quality for which ARRI is world-renowned. Both lampheads feature a robust new aluminum housing that allows effective heat dissipation. At the rear of the housing is a large, heat-proof handle that facilitates easy maneuvering of the light, even when it is hot. Bulbs can be changed easily and quickly, without the need for tools of any kind.

In addition, it features an innovative one-arm stirrup that enables many different pan-and-tilt options and reduces overall size for easy transportation. The ARRILITE 2000 Plus is more stable and far more compact than the current ARRILITE 2000. It features an improved focus mechanism and, like the 750 Plus, implements disc brake technology from the ARRI True Blue range of lampheads, which holds the fixture steady even with heavy accessories attached. I

A new accessory holder incorporates fittings that permit the Chimera Video PRO Plus S to be fitted directly, without an additional speedring. The accessory holder also enables usage of the 4-leaf barndoor and scrims designed for the ARRI 650 Plus, which is therefore ideally partnered with the ARRILITE 750 Plus in a kit, as they share the same accessories. The ARRILITE 750 Plus is smaller and almost half a kilo lighter than the current ARRILITE 800 and ARRILITE 1000 fixtures, making it well suited to portable lighting kits used for location shooting and newsgathering. Although listed as a 750-watt fixture, it can be fitted with bulbs ranging from 800 watts all the way down to a 375-watt HPL bulb (invented by and licensed from David Cunningham). 29

VISIONARRI

ARRI WEBGATE

“As we were developing the service it was important to us to provide the user with the option to add comments, which can then be sent to another member of the team,” Kirsch continues. “To give you an example: if someone can see a mic in a frame when they are viewing dailies, they can immediately ask the VFX Supervisor how this problem could be fixed.” This comment feature allows the user not only to comment on each frame of a clip one at a time, but also to create go-tos and automatically generate thumbnails.

A quantum leap for postproduction infrastructure

In other words, ARRI Webgate is not just a storage platform for dailies but also a true communication platform for a closed team of production members able to access footage from the entire shoot online.

In early September 2010, after half a year in the making, ARRI Film & TV added a brand new communications platform to the range of services it offers to filmmakers. ARRI Webgate is a secure web portal that takes advantage of the latest internet technologies, providing the potential to optimize the production process in a unique and time efficient way.

ARRI believes the main target groups for ARRI Webgate are production companies, executives at television networks and sound recording studios. As for production teams, this service doesn’t have to be limited to just directors, DoPs and producers, but can also be made available to department heads such as make-up artists and set or costume designers.

Designated people such as the director, DoP or producer can now view dailies from the set or editing room online – anytime and anywhere. They can screen, comment on and approve materials on their laptop, notebook, netbook, iPad, iPhone or any other device providing internet access whether in the office, on set, in a hotel or even at home. The homepage can be accessed via all major browsers, as ARRI Webgate has an HTML5 frontend – Flash Player isn’t needed. “During the development phase we looked at the latest technologies available,” explains Harald Schernthaner, ARRI Head of Digital Filmworks, “but we also tried to be as compatible as possible, especially downwards.” The client can deliver the audio and video data after the shoot or edit by uploading and sending it via an encrypted data connection, or via the more traditional encrypted data storage device. If the data arrives via FTP it will first be stored in a secure environment on a high-performance server. Afterwards, the data will be automatically transcoded into all desired formats and marked with burn-ins (watermarks). “The unique part is that we are able to offer different versions of the video data and they are automatically optimized – in terms of coding, data rate and format – for the chosen receiving device, be it browser, iPhone, or iPad,” points out 30

Markus Kirsch, ARRI Head of TV Postproduction. “As soon as transcoding is completed, the user will be notified via email that the content is available. “Users can also obtain download access,” continues Schernthaner. “The clips will then be pre-rendered in the selected formats so that downloading can be started with a simple click once a clip has been requested. With this service we want to save the client time; the client should have access to all formats as quickly as is technically possible.” Each user receives a personalized login as an access code, which the production has to sign off on. ARRI does not choose the logins and production management has to approve which user has access to which services. Various user groups can be granted different and clearly specified access to screen, comment on and download clips. Each download comes with a personalized burn-in of the user’s name. Some users, such as a producer, can of course access different projects. “From now on production companies can create their own user accounts and assign specific access,” explains Kirsch. “The same naturally goes for deleting people who are no longer involved from the list of entitled users.

Depending on their access, users can send direct links to a clip through email. The recipient of this email has access, via the direct link, to preview a clip in the browser for a limited time without a login.

“Up until now dailies were delivered on maybe three or four DVDs for the director, DoP and producers,” says Schernthaner. “The rest of the crew had to either look over someone’s shoulder or make do with video combis to view their own work.” Now the whole crew has a chance to see their work on high-res clips, allowing them to check continuity and to send direct links to the rest of the team.” Ideas for expanding ARRI Webgate’s features include allowing the user to compile and organize lists that can be used further down the line in the editing room – even referencing the original data, or the creation of playlists.

Video formats that can currently be streamed or downloaded via ARRI Webgate: • Safari Quicktime H.264 High-Profile LQ (320x180, 200kb/s) • Safari Quicktime H.264 High-Profile MQ (480x270, 500kb/s) • Safari Quicktime H.264 High-Profile HQ (960x540, 1500kb/s) • Firefox Ogg Theora LQ (320x180, 300kb/s) • Firefox Ogg Theora MQ (480x270, 750kb/s) • Firefox Ogg Theora HQ (960x540, 2000kb/s) • iPhone Download mp4 H.264 BaselineProfile HQ (480x270, 500kb/s) • iPhone Streaming H.264-TS segmented baseline-profile LQ (320x180, 150kb/s) • iPhone Streaming H.264-TS segmented baseline-profile MQ (320x180, 300kb/s) • iPhone Streaming H.264-TS segmented baseline-profile HQ (480x270, 500kb/s) • iPad Streaming H.264-TS segmented high-profile (960x540, 1500kb/s) The video playback in the browser works on an HTML5 basis. Additional formats available upon request.

The following browsers currently support ARRI Webgate: • Safari 5.0 • Firefox 3.6 • Google Chrome 5.0 • iPad und iPhone Browser (Safari)

Further applications, other than the viewing of dailies, are also currently under consideration. These include a platform to approve VFX shots; a time saving presentation tool for commercials; or a method to approve trailers and title layouts. “Even now, at this early stage, suggestions and customer requests are being brought to our attention, so we continue to think about additional features,” says Schernthaner. I Ingo Klingspon

Photos: © Ron Batzdorff

Postproduction at ARRI Film & TV

Conviction

and of ARRI where of equal importance to me. We were basically just dealing with a cash flow problem.” ARRI simply had the production relinquish the minimum guarantee from Tobis, and suggested that it would complete the project’s entire postproduction, including lab work, grading and sound, at ARRI Film & TV in Munich. In exchange, ARRI would defer the cost of these services. The deal was closed and then insured by the completion bond. Filming could finally commence. “In the beginning the production team was slightly skeptical, and worried that the undeveloped film might suffer X-ray damage during transport,” Thomas Nickel recalls. “But after one week the excitement over the exceptional quality of the dailies (Dailies Supervisor: Clemens Schmid) outweighed any concerns.”

Creating incentives for international productions Generally, American films don’t travel to Germany for postproduction. But Conviction, the most recent film from director Tony Goldwyn, grandson of the legendary MGM co-founder Samuel Goldwyn, did and is proof that an intercontinental collaboration of this sort can be successful as well as sensible. ARRI Film & TV in Munich handled not only the lab work during physical production, but also the entire postproduction of this legal drama about a devoted sister fighting to clear the name of her wrongfully convicted brother. Conviction is the true story of Betty Anne Waters’ successful fight to save her brother from the wheels of an overpowering and impersonal legal system. A short summary of the events: 1983, Ayer, Massachusetts. Based solely on circumstantial evidence, Kenny Waters is convicted of the murder of a neighbour and sentenced to life in prison. His sister, Betty Anne, is firmly convinced of his innocence and intends to prove it – a seemingly futile endeavour because the unemployed single mother of two sons never even graduated from high school. But Betty Anne works nights as a waitress to feed her children, earns her GED (the equivalent of a high school diploma), and graduates from college and law school. Sixteen years later she is a lawyer with one client: her brother. In 2001, after two years, with new DNA evidence and repealed testimonies, she succeeds in exonerating her brother, who then regains his freedom. To tell this story about the unconditional love of siblings and of Betty Anne Waters’ odyssey through the inscrutable depths of the legal system,

VISIONARRI

Tony Goldwyn assembled an impressive cast led by the Million Dollar Baby star Hilary Swank (Betty Anne Waters) and Sam Rockwell (Kenny Waters), and supported by high-caliber actresses such as Minnie Driver, Juliette Lewis and Melissa Leo, who delivered incredible performances. In 2009, after eight years, the film was about to go into production in Michigan when Goldywn, who, alongside Andrew Sugerman and Andy Karsh, is also one of the film’s producers, was suddenly faced with yet another hurdle. “Part of the film’s financing was a minimum guarantee from the German distributor Tobis,” recalls Thomas Nickel, ARRI representative in Los Angeles, “which usually isn’t due until the film is delivered to the distributor. But the US banks had a hard time accepting this deal point, most likely as a result of the banking crash in the fall of 2008.” That’s when ARRI stepped in. Thomas Nickel was approached by Film Finances Inc., the world’s leading completion bond, and was able to work out the deal: “The interests of the Conviction production

The negatives were developed in the lab, and then dailies were sent for HD scanning (Daniel Schwertfeger). Afterwards the digitized footage was uploaded onto a FTP server, which the editing team in the US could access. Christopher Berg, ARRI In-House Producer/International Projects, who is responsible for coordinating these efforts, couldn’t see any potential drawbacks for the clients regarding the geographic distance. On the contrary: “The time difference between Europe and the US made it possible for the production to have access to their material sooner than they would have had they completed the work locally.” Postproduction preparations took place in July. The crucial phase was in August and early September of 2009. During that time, the director, DoP Adriano Goldman and Postproduction Supervisor Nancy Kirhoffer were in Munich. Grading was completed by ARRI Lead Colorist Traudl Nicholson. “The director, as well as other members of the production, said they’ve never seen more fantastic color grading work,” reports Nickel, “and the first answer print got nothing but praise in every respect.” Conviction had its world premiere on September 11, 2010, at the Toronto International Film Festival and received favorable reviews from the attending press; Hilary Swank’s and Sam

ON SET: Sam Rockwell and director Tony Goldwyn

Rockwell’s screen presence as loving and devoted siblings was more than once deemed Oscar worthy. Angela Reedwisch, Key Account Manager of International Sales at ARRI Film & TV, sees the completion of Conviction at ARRI‘s postproduction facilities in Munich as a promising paradigm for ARRI’s participation in additional international projects down the line: “Recently we’ve worked quite intensively on developing collaborative models that provide interesting incentives to productions abroad. We are reviewing all options that go beyond the less-than imaginative price dumping for postproduction services. One is the increased involvement of our world sales division. We have recently brought Wolfram Skowronnek on board as an advisor and support for Antonio Exacoustos, who is in charge of ARRI’s world sales division. Skowronnek has extensive world sales experience from his days at Telepool. It is, for example, conceivable to offset postproduction services with distribution rights. But we are also addressing options such as coproductions and gap financing, which could be interesting for productions abroad.” Conviction opened in the US on October 15. It will reach UK theaters in early 2011 and German distributor Tobis will open the film in German theaters under the title of Betty Anne Waters on February 24, 2011. I Ingo Klingspon

PRODUCT

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UPDATE

News from around the world

Go wide and fast with the ARRI/ZEISS Master Prime 12

ARRI Media and Love High Speed forge slow motion alliance

The creative options of the Master Prime series have been expanded still further with the ARRI/ZEISS Master Prime 12. This innovative lens combines an extreme wide angle with the highest optical quality and a fast speed of T1.3 for the creation of truly unique images.

Even five years ago, the creation of a T1.3 12mm lens with Master Prime optical quality would have been technologically impossible. However, recent advances have allowed ARRI and ZEISS to reach a new pinnacle in optical design and manufacturing with the Master Prime 12.

Flight Head XL: a gyro-stabilized partner for 3D rigs and most 3D rigs. Although the head is capable of supporting larger loads, it is still light enough to use on telescopic and modular cranes. The XL also has a hole through the pan axis, allowing for maximum compatibility of all HD camera cables without limiting the head’s movement. The Flight Head XL’s suitability for 3D rigs has seen it successfully utilized by a number of major productions, including Pirates of the Caribbean: On Stranger Tides, Hugo Cabret and Yogi Bear. PRODUCT

The Flight Head XL has been designed and developed with larger payloads in mind. Capable of accommodating any size 35 mm camera package, even those with 1,000-foot magazines and long zoom lenses, the threeaxis remote head is also particularly suited to handling 3D camera rigs. With a unique gyro-stabilized design, the XL minimizes the problem of unwanted motion and vibrations to ensure a stable image can be achieved. Shots will always be smooth, no matter how frantic the action. The pan gyro compensates for the movement of a crane arm when being maneuvered from side to side, so the XL remains pointing in the same direction. The other gyros compensate for movement on the tilt and roll axes, which can be particularly useful when shooting on a moving vehicle. Another feature of the XL’s design is its ability to execute a 340-degree roll with a 35 mm 1,000-foot magazine

FEATURES

The Phantom HD GOLD and Flex have been designed as high-end creative tools for slow motion effects in digital cinematography. The HD GOLD provides 2K and HD resolution to deliver impressive images, recording up to 1,000 fps at 1920 x 1080 or 555 fps at 2048 x 2048. With a 16GB internal memory, the HD GOLD can record 4.3 seconds of action at 1,000 fps, resulting in just under three minutes of stunningly smooth slow motion. The new Phantom Flex supports multiple workflows to offer an unprecedented degree of flexibility in digital high speed image capture. Capable of recording up to 2,570 fps at 1920 x 1080, an innovative HQ Mode provides ultimate image quality when the highest resolution is required. A 32GB internal memory allows 10 seconds of action to be captured at 1,000 fps, delivering just under seven minutes of slow motion.

Both cameras produce images with 35 mm depth of field and are fully compatible with a wide range of industry-standard 35 mm format cine lenses and accessories. Love High Speed, which has set up its new base within ARRI Media’s premises, will provide full technical support for the cameras, supplying qualified camera technicians as well as the additional service of on-set data transcoding to offline and online files. “By working with Love High Speed, ARRI Media can now offer customers a slow motion solution for a wide range of applications,” comments Phillip Cooper, ARRI Media’s Managing Director, “from feature films and TV dramas to commercials, music promos and televised sports events.” For enquires regarding the Phantom HD GOLD and Phantom Flex contact: ARRI Media +44 1895 457100 or Love High Speed +44 207 043 0973

Maximum load: 50 kg Pan:

360 degrees, continuous

Tilt:

+80 degrees, up to -155 degrees

Roll:

340 degrees clockwise +110 degrees anti-clockwise -230 degrees

– Large enough to handle 3D camera rigs and any size 35 mm camera package – Light enough to support a large payload on a telescopic crane or modular crane – Achieves 340 degrees of roll with any 35 mm 1,000-foot magazine package and most 3D rigs – Pan gyro assists in ensuring the XL remains pointing in the same direction during crane moves – Hole through pan axis allows maximum compatibility of all HD camera cables

The Flight Head XL is available through ARRI Media in the UK and ARRI Rental in Germany. 34

As an established market leader in high speed image capture at live broadcast events, ARRI Media has experienced tremendous success with the Hi-Motion – a true HD camera with a proven ability to integrate with OB infrastructures. ARRI Media’s collaboration with Love High Speed now means that customers will have access to the Phantom HD GOLD and brand new Phantom Flex.

ON LOCATION: The Phantom HD GOLD captures beer being poured at 1,000 fps and an explosion on a beach at 1,300 fps

The Master Prime 12 has a widest aperture of T1.3, which is a very unusual stop for such an extreme wide angle lens. In addition, it also shares the unmatched optical performance and straight image geometry of the other Master Primes. The combination of these qualities is unique and allows for the creation of images that have never been seen before. The Master Prime 12 is the ideal lens for wide establishing shots, sweeping vistas, cramped locations and chase sequences, among many other uses.

ARRI Media has further expanded its range of high speed services by teaming up with slo-mo specialists Love High Speed.

NEWS FROM AROUND THE WORLD

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News from around the world

ARRI Media, 3ality Digital and 3D

New team members join customer service and VFX departments at ARRI Film & TV Berlin

ARRI Media has concluded a deal with 3ality Digital, a leading manufacturer and supplier of active 3D shooting systems, under which ARRI Media will offer these systems for rental to TV, commercials and feature film clients in the UK.

Continually optimizing and expanding services, while ensuring that customer service and all creative departments are staffed by the best personnel, are of great importance to ARRI Film & TV Berlin. Sebastian Pförringer, an experienced and highly competent adviser, has been appointed Sales Manager to support clients and colleagues in Berlin. Working in close collaboration with Mandy Rahn, Branch Manager ARRI Film & TV Services Berlin, and Ute Baron, Branch Manager ARRI Rental Berlin, Sebastian will look after clients and their projects from start to finish. Meanwhile, the VFX department is benefiting from Manfred Büttner’s 25 years of experience in the field. Working closely with the head of the VFX department in Munich, Dominik Trimborn, the new VFX producer will help expand the VFX capacities at Berlin in order to meet increased demand.

The 3ality Digital systems are already in regular use by BSkyB, providing material for their 3D HDTV satellite channel, which launched at the beginning of October. ARRI Media used a 3ality Digital TS-2 system with ALEXA cameras for a successful test shoot for the feature film Gravity, at the end of August.

The 3ality Digital systems are unique in their integration of the mechanics of the camera rig with the real-time control exercised by the Stereo Image Processor, resulting in 3D imagery of very high accuracy direct from the shoot. This integration also allows fine control of the rig during shooting, to the degree that even rather poorly matched zoom lenses may be used to produce accurate results.

3ality Digital, headed by its founder Steve Schklair, is based in Burbank, California and has its R&D and manufacturing facilities in Germany, not far from Munich. For enquires regarding 3ality Digital systems contact: ARRI Media +44 1895 457100

Hardwrick Johnson: 48 years with ARRI CSC One of Hardwrick Johnson’s first jobs at Camera Service Center was delivering camera dollies to the surrounding stages in New York’s Hells Kitchen – by pushing them down the road. The story of the one that got away from him on 9th Avenue is the stuff of legend. As is Johnson, who started with CSC on September 3rd 1962. The same year that JFK was President, John Glenn had orbited the Earth, Mickey Mantle was playing for the Yankees, the New York newspapers were on strike and Lawrence of Arabia and West Side Story were showing in the cinemas.

Subsequently Johnson established the lighting & grip department. Which has grown a bit.

Many clients know and value Sebastian Pförringer from his previous role as project manager in the feature film and series department at ARRI Film & TV in Munich, which he joined in 2008. During his tenure, he worked on projects such as John Rabe (Hofmann & Voges), Henry IV (Ziegler Film), Die Grenze (teamWorx) and Klimawechsel (MOOVIE – the art of entertainment). Prior to joining ARRI Film & TV, Sebastian was at SEBASTIAN PFÖRRINGER CineMedia and Bavaria. Now, he has left his native Bavaria and is looking forward to tackling new challenges in Berlin, the German film mecca: “The recent developments in the film business here in Berlin are as exciting as the

constantly evolving production and postproduction technologies. It’s a great advantage to be part of a company like ARRI that is right at the forefront of it all – be it equipment, workflows or crossdepartmental collaboration. To be able to utilize this know-how, to advise clients competently and to achieve the best possible results on each project is an important aspect of my work.”

Manfred Büttner has been active in the digital visual effects field for more than 25 years. He has worked on numerous national and international films, such as Run Lola Run, Anonyma – A Woman in Berlin, Maléna, Winged Migration, Whale Rider and Oliver Twist. The pillar of Manfred career is his degree in scientific and applied photography from FH Cologne. Over the years he has worked as a production manager, VFX producer and VFX supervisor in the visual effects divisions at prestigious companies in Frankfurt, Stuttgart, Munich, Wiesbaden and Berlin. Most recently, Manfred was the COO/Head of Production at the Pixomondo Images GmbH offices in Babelsberg. “Whether it is a daily soap or a big budget

feature film – visual effects are an integral part of all national and international projects and have been for a long time. I believe that ARRI’s decision to expand the VFX department in Berlin and to combine it with the unique capabilities of ARRI’s digital grading suite here, is the right way to go and I look forward to contributing my experience to best assist clients here in Berlin,” says Manfred enthusiastically.

Today after 48 years with the company he is Vice President of Operations and a vital part of the extraordinary team that makes up ARRI CSC. And he doesn’t have to push camera dollies down the road anymore. The industry salutes you Johnson, and all of your colleagues past & present thank you for your unwavering commitment and for continuing to provide such an inspiration to all around you. We look forward to the next 48 years.

MANFRED BÜTTNER

ARRI Film & TV Services Berlin Sebastian Pförringer, Sales Manager Phone: +49 30 4081785 11 Email: spfoerringer@arri.de

ARRI Film & TV Services Berlin Manfred Büttner, VFX Producer Phone: +49 30 4081785 29 Mobile: +49 172 961 79 42 Email: mbuettner@arri.de

Camera Service Center was camera rental only at that time, providing ARRIFLEX and HARDWRICK JOHNSON blimped Mitchell cameras to the New York community. Ask Johnson and he can tell you the fleet number of the ‘A’ camera supplied to The Godfather.

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Wickie and the Treasure Rat Pack Filmproduktion Christian Ditter of the Gods 3D The Three Musketeers 3D Constantin Film Produktion Paul W.S. Anderson Yoko blue eyes Fiction Franziska Buch Mission: Impossible Ghost Protocol Dreiviertelmond Der Mann mit dem Fagott The Cold Light of Day Borgia DON 2 Kommissarin Lucas Gier (Folge 15) Unter Verdacht Das Meer der Tränen

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Christian Rein

Babydaddy Chicken with Plums

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die film Ziegler Film

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Touchpaper Television

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Stuart King Mark Clayton, John Attwood

Steve Anthony Benny Harper, Paul Murphy

John Truckle

Chris Davies

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Mr Popper’s Penguins Young Adult The Miraculous Year Henry’s Crime MQB Burn Notice Mighty Fine Unanswered Prayers

20th Century Fox Mercury Production Ink Stained Wretch Henry’s Crime UNIVISION TVM Productions Mighty Fine Productions Woodridge Prods

Your OWN Show

Jean Worldwide

ARRI ALEXA, Ultra Primes ARRI CSC NJ ARRI ALEXA ARRI CSC NJ ARRICAM Studio & Lite ARRI CSC NJ ARRICAM Studio, ARRIFLEX 235 ARRI CSC NJ Lighting & Grip ARRI CSC FL Sony F800 HD Cameras ARRI CSC FL ARRIFLEX 416 ARRI CSC FL Conventional Lighting Illumination Dynamics NC Conventional & Illumination Automated Lighting Dynamics LA

Water for Elephants

Relativity Media

Florian Ballhaus Eric Steelberg Barry Ackroyd BSC Paul Cameron ASC Ed Paciti Bill Wages ASC Bobby Bukowski Eric Van Haren Norman

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John Velez Scott Ramsey Ken Shibata Ken Shibata Fred Valentine Mike McLaughlin James Tomaro Alex Van Wagner

Randy Woodside

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Anja Jacobs Marjane Satrapi Vincent Paronnaud Die Farbe des Ozeans Südart Film Maggie Perren DON 2 film base berlin Farhan Akhtar Dreiviertelmond die film Christian Zübert Für immer und ewig Film Line Productions Christoph Stark Girl on a Bicycle Wiedemann & Berg Film Jeremy Leven Mein Leben in orange Roxy Film Marcus H. Rosenmüller Porfirio Porfirio Films Alexandro Landes Resturlaub Deutsche Columbia Pictures Gregor Schnitzler Sommer der Gaukler GFF Süd Geißendörfer Marcus H. Rosenmüller Film- & Fernsehprod. Tom Sawyer Neue Schönhauser Hermine Huntgeburth Filmproduktion Vier Tage im Mai X-Filme Creative Pool Achim v. Borries Wickie and the Treasure Rat Pack Filmproduktion Christian Ditter of the Gods 3D Yoko blue eyes Fiction Franziska Buch

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Daniel Möller Lab, DI, HD-Mastering Christophe Beaucarne Lab Armin Franzen Jason West Jana Marsik Bogumil Godfrejow Robert Fraisse Stefan Biebl Thimios Bakatakis Andreas Berger Stefan Biebl

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Title Daniela Katzenberger Monopoly 2010 Puzzleball Playmobil 2010 Carrera RC und D132

Moving Adventures Medien GmbH Opel Milchwerke Schwaben eG

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e+p commercial Cobblestone Neverest e+p commercial e+p commercial

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made in munich

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lucie_p, Sterntag Neverest

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Sky HD Smoke & Christmas Logo Apothekenumschau 2010 E.O.F.T 2010/2011 Opel GTC Paris Weideglück

Moving Adventures Medien GmbH lucie_p Neverest

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War Horse

DreamWorks

Steven Spielberg

Janusz Kaminski

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Working Title Films

Oliver Parker

Danny Cohen

Game of Thrones

Fire & Blood Productions

Matt Jensen, Marco Pontecorvo, Alik Sakharov

One Day Retreat Salmon Fishing in the Yemen W.E

Hadrian Productions Retreat Films Yemen Productions

Brian Kirk, Daniel Minahan, Alan Taylor, Timothy Van Patten Lone Scherfig Carl Tibbetts Lasse Hallström

ARRICAM Studio & Lite, Master Primes, Grip & Cranes ARRICAM Studio & Lite 3-perforation, Master Primes ARRI ALEXA, Grip

Benoît Delhomme Chris Seager BSC Terry Stacey

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Madonna

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Hysteria Upstairs Downstairs

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Sean Bobbit BSC Adam Suschitzky

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Gillies MacKinnon

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ARRIFLEX D-21

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BSC

ARRIFLEX D-21

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Philip John, Daniel O'hara, Colin Teague Sue Tully

Mark Partridge

ARRIFLEX D-21

TXTV

Jamie Payne

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ARRIFLEX D-21

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Giulio Biccari ARRI ALEXA, Grip Jean-Philippe Gossart ARRIFLEX D-21

BSC

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.

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