Vission arri 3

12/06 ISSUE 3

VisionARRI

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

PERFUME THE STORY OF A MURDERER Director Tom Tykwer and DoP Frank Griebe discuss the shoot and post-production

Hogfather D-20 shoots Christmas special for SKY TV

Sony Paints the Town Twenty-two storey tower block stars in colourful commercial

Sunshine Interview with DoP Alwin Kuchler

BSC

Trading Post Crime drama posts at ARRI Film & TV

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

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

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

Schwarz Film Berlin Postproduction GmbH Film Lab, Digital Intermediate Thomas Mulack T +49 30 887 08 504 thomas@schwarzfilm.de Schwarz Film GmbH Ludwigsburg Film Lab, Digital Intermediate Jeanette Jaussi T +49 7141 125 590 jeanette@schwarzfilm.ch LUXEMBOURG ARRI Rental Luxembourg Cameras Steffen Ditter T +352 2670 1270 sditter@arri.de SWITZERLAND Schwarz Film AG, Ostermundigen, Zürich Film Lab, Digital Intermediate Philipp Tschäppät T +41 31 938 11 50 philipp@schwarzfilm.ch UNITED KINGDOM ARRI Lighting Rental, London Lighting Tommy Moran T +44 1895 457 200 tmoran@arrirental.com ARRI Focus, London Short term lighting hire for commercials & promos Martin Maund, George Martin T +44 1895 810 000 martin@arrifocus.com george@arrifocus.com ARRI Media, London Cameras, Digital, Grip Philip Cooper T +44 1895 457 100 pcooper@arrimedia.com ARRI Crew, London Diary Service Kate Collier T +44 1895 457 100 arricrew@arrimedia.com

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

Illumination Dynamics, LA Lighting, Grip Carly Barber, Maria Carpenter T +1 818 686 6400 carly@illuminationdynamics.com maria@illuminationdynamics.com Illumination Dynamics, North Carolina, Lighting, Grip Jeff Pentek T +1 704 679 9400 jeff@illuminationdynamics.com

ARRI PARTNERS & ASSOCIATES BULGARIA Boyana Film Studios, Sofia Cameras, Lighting, Grip Lazar Lazarov T +359 2958 2713 director@boyannafilm.bg CYPRUS Seahorse Films, Nicosia, Paphos Cameras, Digital, Lighting, Grip, Studio Andros Achilleos T +357 9967 5013 andros@seahorsefilms.com CZECH REPUBLIC DEBRA, Prague Cameras Ivan Jiranek T+42 022 056 1684 ivan@debrarental.com FRANCE Bogard, Paris Cameras, Digital, Grip Didier Bogard, Alain Grellier T +33 1 49 33 16 35 didier@bogardsa.com alain.grellier@bogardsa.com GERMANY Maddel’s Camera GmbH, Hamburg Cameras, Grip Matthias Neumann T +49 4066 86390 maddel@maddels.com HUNGARY Vision Team, Budapest Cameras, Lighting, Grip Gabor Rajna T +36 1 433 3911 info@visionteam.hu ICELAND Pegasus Pictures, Reykjavik Cameras, Lighting, Grip

Snorri Thorisson T +354 414 2000 snorri@pegasus.is IRELAND The Production Depot, Co Wicklow Cameras, Lighting, Grip John Leahy, Dave Leahy T +353 1 276 4840 john@production-depot.com dave@production-depot.com JAPAN NAC Image Technology Inc. Tokyo Cameras, Digital Tomofumi Masuda Hiromi Shindome T +81 3 5211 7960 T +81 3 5211 7933 masuda@camnac.co.jp NEW ZEALAND Camera Tech, Wellington Cameras Peter Fleming T +64 4562 8814 cameratech@xtra.co.nz RUSSIA ACT Film Facilities Agency, St. Petersburg Cameras, Lighting, Grip Sergei Astakhov T +7 812 110 2080 astakhovs@mail.ru SOUTH AFRICA Media Film Service, Cape Town, Johannesburg, Durban, Namibia Cameras, Digital, Lighting, Grip, Studio Jannie Van Wyk T +27 21 511 3300 jannie@mediafilmservice.com

VISIONARRI

4 PERFUME – THE STORY OF A MURDERER Director Tom Tykwer and DoP Frank Griebe discuss how they translated scent to the screen with images

8 HOGFATHER DoP Gavin Finney BSC reflects on his experiences shooting with the ARRIFLEX D-20

12 FIRST 416 PRODUCTIONS Opinions from the field on the first pre-production cameras

14 FIRST ULTRA 16 PRODUCTIONS User feedback on the first pre-series Ultra 16 lenses 16 TRADING POST DoP Daniel Gottschalk talks about putting crime drama Trade through the DI process at ARRI Film & TV

18 PERFUME – HEARING AND SEEING SCENTS Director Tom Tykwer and DoP Frank Griebe discuss carrying out post-production at ARRI Film & TV

23 SONY PAINTS THE TOWN DoP Daniel Landin captures seventy thousand litres of exploding paint on film

26 SUNSHINE DoP Alwin Kuchler BSC explains how he shot

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Director Danny Boyle’s sci-fi thriller Sunshine

30 ARRI & THE DIGITAL CINEMA ARRI’s workflow for the production of digital

CONTENTS

cinema masters

32 AA look TALE OF TWO CITIES at the location vehicles of ARRI CSC and Illumination Dynamics

34 HOW THE EXIT MAN LEARNED TO WALK

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ARRI Film & TV re-create a famous German icon from the seventies

36 ARRI & THE FOUR SEASONS ARRI Film & TV collaborate in the making of a film for projection onto a dome for a full 360° viewing experience

38 MOMENTS IN TIME Dark Passage and the Hollywood debut of the

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ARRIFLEX 35

41 DID YOU KNOW? 42 CINEMATOGRAPHER STYLE SCREENS AT THE ACADEMY OF MOTION PICTURES ARTS & SCIENCES

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VisionARRI would like to thank the following contributors; Simon Broad, Susanne R. Bieger, Maria Carpenter, Frank Griebe, Philip Hahn, Jochen Hähnel, Mark Hope-Jones, Markus Kannewischer, Ingo Klingspon, Angela Reedwisch, Andrea Rosenwirth, Jeremy Sassen, Marc Shipman-Mueller, Michelle Smith, Martina Valkenburg

42 TAKE 10 43 NEWS FROM AROUND THE WORLD 51 PRODUCT UPDATE 54 PRODUCTION UPDATE

PERFUME

THE STORY OF A MURDERER The new Master Zoom makes its debut.

The adaptation of Patrick Süskind’s world bestseller Perfume – The Story of a Murderer has been expected in theatres with great anticipation. How will scent, which the book captured so sensually with words, be translated to the screen with images? The equipment for the shoot was supplied by ARRI Rental Germany.

Including the key ‘essence’ the new Master Zoom.

Constantin Film Producer, Bernd Eichinger (Downfall, The Name of the Rose) and Director Tom Tykwer (Run Lola Run, Heaven, The Princess & The Warrior), began, twenty years after the novel was originally published, to bring this complex story to the big screen. Ben Whishaw (My Brother Tom, Enduring Love) plays the character of Grenouille, the part of the Perfumer, Baldini, is played by Oscar® winner Dustin Hoffman (Rainman, Meet the Fockers, Outbreak).

The movie was shot during the summer months of 2005, mostly in Spain, with Barcelona, Girona and Figueras posing as the perfume city of Grasse and eighteenth century Paris. During the first fifteen days of the shoot the team filmed the encounter of Jean-Baptiste Grenouille and the Perfumer, Baldini in the Bavaria Studios in Munich. During that encounter, Grenouille learns everything about the art of conserving scents from his master.

The main character, Jean-Baptiste Genouille, is endowed with an incredible olfactory sense and uses it to create the world’s finest perfumes. He becomes obsessed with capturing the ultimate scent, the human scent and will go to any lengths to obtain it.

ARRI Rental Germany supplied the camera, light and stage equipment for the entire shoot. The film was shot on ARRICAM Studio, Lite, ARRIFLEX 435 and 235 cameras with 3-perforation movements.

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VISIONARRI

Director of Photography Frank Griebe (Heaven, Naked, Run Lola Run, Winter Sleepers) shot all of Tom Tykwer’s past projects. For the first time, he was able to work with the new Master Zoom 16.5 – 110.

This high-performance T2.6 zoom was specially developed by Zeiss exclusively for ARRI. The Master Zoom is not only the ideal addition to the ARRI Zeiss Master Primes, but also offers an exceptional optical image quality and sets new standards with regards to sharpness, lack of distortion and colour reproduction.

Director Tom Tykwer commented: “I love the Master Zoom. It feels like you’re working with fixed focal lengths and you are incredibly flexible. Especially, on such a demanding shoot, it was often the case that I just let the camera roll and tried out different things during a take. Often we were quite experimental in the way we handled the camera and the lenses. There was flexibility in the handling and later in the brilliant images and the lack of distortion was fantastic. It really is a great lens.”

“I LOVE THE

MASTER ZOOM. IT FEELS LIKE YOU’RE WORKING WITH FIXED FOCAL LENGTHS AND YOU ARE INCREDIBLY FLEXIBLE.”

DoP Frank Griebe talked about his first impression: “We did tests and we were completely impressed by the Master Zoom. Especially, in terms of how closely it matched fixed focal lengths. For me it was clear right away, that we should use this zoom. From a strictly technical perspective, it was a very nice match – and that’s incredible.”

He continues: “There were other reasons why we used the Master Zoom. One was, we wanted the film to have a certain focus. The focus fall-off, compared to other lenses, is much more pronounced, which means, the focus doesn’t become so soft in the back and the Master Zoom seems more sharp in the plane.

The focus impression is much, much greater than with other lenses. That’s another reason why we decided to use the Master Zoom. Finally, the zoom’s speed is great, even though there were hardly any situations in which I was pressed to shoot open and especially because it is a very dynamic film and because it moves a lot, I made sure that it wouldn’t become a nightmare for the Focus Puller.”

The technical development of the zoom ensures that the image geometry is free of distortion and that nothing changes during focusing. Griebe’s impression was: “Incredible. It really keeps its promise. There is, of course, always a difference in contrast to fixed focal lengths, but that’s normal. However it is really close and unquestionably far superior to old zooms.”

DIRECTOR TOM TYKWER instructs actor Dustin Hoffman, who plays Baldini

DIRECTOR TOM TYKWER and DoP Frank Griebe (left to right) FILMING in the French Massif Central

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PERFUME – THE STORY OF A MURDERER DOP FRANK GRIEBE with the Master Zoom and First Camera Assistant Christian Almesberger (left of DoP)

ON THE SET

of Perfume

“I DON’T JUST GET QUALITY EQUIPMENT FROM ARRI. WHAT I FIND MOST IMPORTANT IS THE SERVICE.” The Master Zoom has fantastic colour reproduction, but that wasn’t so important for the DoP. “I can’t say much about that, because the film is not very colourful. And so chromatic aberration wasn’t an issue for us,” says Griebe.

How is the handling of the new zoom? The DoP reported: “The Optimo is already a huge lens.

And the Master Zoom is obviously very hefty. But, lenses have a certain size and so that’s one of the compromises you have to make. But it is worth it.

The image quality speaks for itself.” He added: “In general I like to work with zooms, because I’ve realized by now, that I save time that way and time often becomes a big problem during the making of a film and even on a large production such as this one, we were under extreme time pressure.”

In the fifty-two days in Spain alone the team had to shoot almost one hundred set-ups, which meant there was only half a day for each set-up. However, there were of course scenes that took several days to shoot.

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Frank Griebe: “There is one big scene in the film, which we shot with five cameras. We had twenty-one people in the camera department. Never before have I had such a large camera team. My long time Assistant Christian Almesberger took over the “B”camera. He knows Tom very well and has worked with him for a long time now too. We also had Assistants from Spain.” He continues: “It’s the scene in which Grenouille is supposed to be executed. He scatters the perfume and suddenly everyone begins to fall into each others arms, undress and make love.

In the novel there are thousands of people, we had seven hundred and fifty. The shot was really demanding on everyone. It was very hot, and everyone had to slowly undress, then, kiss and hug.

It took several days to get all the shots. Essentially, it was like a concert or a large event. We filmed it with five cameras from several perspectives, like a live event. We had everything choreographed, but kept looking for new positions and then rehearsed everything again. For the camera department that worked very well, but for the extras it was very taxing.”

VISIONARRI

The camera team was confronted with many challenges, which required a lot of imagination.

Frank Griebe talked about the teamwork with ARRI. “I don’t just get quality equipment from ARRI. What I find most important is the service, meaning the people, whom I can discuss my ideas with. It doesn’t matter if it’s the lab or the digital department or rental. The people at ARRI always listen carefully, and reply ‘Yes, that’s a great idea, we can do that’. For example: I wanted a camera that only shoots the nose in motion. Manfred Jahn, the Technical Director of ARRI Rental, organized a special helmet for skydivers and rebuilt it, putting an ARRIFLEX 235 on one side, installing a mirror on the flexible joint,

adding a lens and we got exactly that part of the nose. Like I said, aside from the equipment, the people that work at ARRI are very important to my work.”

Frank Griebe concludes: “Now I am curious about that lightweight zoom, that we weren’t able to use yet.

One notices that films use different ways of telling a story these days, i.e. a lot is being shot handheld. It is important, that one responds to these developments, and, for example, to offer a lighter camera like the ARRIFLEX 235, or a shorter zoom. ARRI is very close to the filmmaker’s needs and I think that is great.” I Andrea Rosenwirth

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HOGFATHER

ARRIFLEX D-20 SHOOTS MAJOR CHRISTMAS SPECIAL FOR SKY TV Produced by The Mob Film Co. for Sky TV, Hogfather is the first ever live-action adaptation of a novel from Terry Pratchett’s hugely successful Discworld series, the thirty-four volumes of which have together sold tens of millions of copies worldwide.

Due for broadcast in the UK over Christmas 2006 in two featurelength parts, the project will be distributed internationally by US mini-series giant RHI Entertainment, who put up some of the finance and will also release a theatrical version in certain territories. It is a bold undertaking for Sky, a company that tends to focus on the acquisition of provenly successful US television programmes, and with a multi-million pound budget, in fact represents its biggest ever drama commission.

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VISIONARRI

DoP GAVIN FINNEY BSC

Gavin Finney was instrumental in the decision to shoot on the new ARRIFLEX D-20: “I came in when it was still a 35mm film shoot and I think it was me who suggested the D-20. Although I believe Hogfather will go to print, it was primarily commissioned as an HD television broadcast for Sky. I was very interested in the new high-end HD cameras coming out, especially the single chip cameras that could use 35mm lenses, retaining the same focal length and shallow depth of field of the film format. The D-20 had this, as well as a film style optical look-through. It started to look like an interesting alternative.”

By the time Hogfather was ramping up to prep, the D-20 was becoming available and tests were undertaken at ARRI Media in London to evaluate the workflow, right through to grading on a Quantel iQ. Finney was impressed with the results.

“The main thing was the blue and greenscreen tests we did, when we decided on our settings - recording on HDCAM SR in Standard Quality using 4:4:4 colour space - and the VFX people said the keys came off perfectly, without any problem.

If they had said it’s not good enough, we would have been back on film.” The DI grade would be carried out at One Post and Soho Images, with a clear route through post-production established well before the shoot.

Producers Ian Sharples and Rod Brown, together with Director Vadim Jean, brought Director of Photography Gavin Finney BSC on board early in development. The planning stage was a long one, during which the intended shooting location shifted from Romania to London and the choice of format was also amended. “The point at which we were first discussing budgets and formats with Sky was a long time before the D-20 was available,” recalls Ian Sharples, “so we used 35mm as a bench mark and said to Sky that we’d budget for and anticipate shooting on 35mm because of the amount of CG involved, but should the technology catch up with us by the time we were ready to shoot then we’d consider moving to HD.”

The tests also allayed fears often associated with using HD cameras on a costume and make-up heavy production. “I think the D-20 is definitely more forgiving in terms of make-up, hair and costume than three-chip cameras,” reflects Finney, “and that’s not to say it’s not as sharp or has less resolution, but I think the combination of using 35mm lenses, shallow depth of field and also just the look of that sensor is less enhanced than some of the other cameras. We made sure that the make-up and costume people looked at the big monitor on set so they could see how their work was photographing. There’s a variety of make-up and prosthetics and wigs, especially on the principal characters, and it was absolutely fine; they didn’t have to change their techniques at all.”

“We found that the sensor did have a certain quality to it – a bit like how Kodak and Fuji have different qualities, and the D-20 has a sort of filmic quality to it, with beautiful reds, which are traditionally always a problem on tape. That’s the point with all of these cameras – it’s not about putting them side by side and saying which one is better, because you could never answer that question, it’s about which is the best one for the job you’re doing.”

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HOGFATHER

ACTOR MARK WARREN as TeaTime

ACTRESS MICHELLE DOCKERY as Susan

CAPTURING A SHOT; 1st AC Iain Struthers, 1st AD Peter Freeman, Key Grip Pat Garret, Grip Trainee Emmett Cahill, Camera Operator Vince McGahon and lead actress Michelle Dockery (left to right).

As successful as the tests had been, Hogfather would be the first major outing for the D-20, a fact that Finney admits would have concerned him had he not such established faith in ARRI. “That said, it was always done on the understanding that it was, not so much a work in progress, but that there might be things that change and get better. And the only way of finding that out is shooting for nine weeks, six days a week, two or three camera units, twelve hours a day. Once we made the decision to shoot in London, knowing that ARRI Media was only a phone call away, I was less concerned.”

Director Vadim Jean was entirely behind the decision, as was Ian Sharples: “We understood that we were the first production to use the D-20 in anger and I think we had the right approach, because everyone had been involved in that decision from the start.”

Finney was keen not to punctuate his normal on-set functions with long periods standing behind an HD monitor. “This idea of having 24-inch monitors in tents, with the DoP running back and forth between the monitor in the tent and looking at waveforms, I think that’s redundant now, certainly with the D-20 – it’s simply not necessary. I tend to light from behind the camera, so I used the Astro monitor on 10

the D-20 as my primary light meter, with its waveform display, and that told me exactly what was going down on tape – what was clipping and where I was losing shadow detail. And with three colours on the waveform I could look at a bluescreen and very easily see how evenly lit it was.”

In general, the camera was treated on set very much as a 35mm camera. Finney utilised the Cooke S4 lenses he had selected for the shoot in precisely the same way as he would on a film camera.

“Another advantage of the D-20 is that the Operator is looking through the lens and can check sharps. He can see if the image is sharp in exactly the same way as an Operator would on film, so you’re not relying on someone spotting it on a monitor, plus you have no back-focus problems, which is an enormous asset. Three-chip cameras go out of collimation and there’s no warning light; someone has to spot, on the big monitor, that it has floated out of focus. And then you have to go for another take, having re-collimated it, which is an absolute pain and a real time-waster.”

When the production started, the camera had three ASA rating options, 50, 100 and 200. During the course of the shoot a faster rating of 320ASA was added, which Finney duly took advantage of.

VISIONARRI

“A nice trait of the camera is how the noise that comes in at higher ASAs has quite an attractive structure to it because it’s granular and the movement is nicely filmic, so selecting a higher ASA rating wasn’t really a problem aesthetically.”

The DoP was also pleased with the dynamic range of the camera. “The D-20 definitely has more highlight retrieval than most video cameras. I was easily able to go four and a half stops over-exposed on, for instance, in-shot lanterns, without any clipping.” In addition, while grading certain shots at the post-house, he found there to be more detail in the shadows than he had realised was being captured at the time. On set he appreciated the simplicity of the menus on the camera and aside from some colour temperature tweaks and occasional use of the 75% saturation setting, focused his energies on capturing as much data as possible: “When you’re going to grade on a system such as the Quantel iQ, where you have a full range of colour correction, there’s no reason to do it in camera. You treat it like film; you treat it as a capture medium.”

The action of the story takes place over the course of a single night, ‘Hogswatchnight’, which in Discworld is the equivalent of Christmas Eve. Not only that, but in Discworld there is no electricity, so practically the entire production was a night-time piece lit with candles, oil lamps and moonlight. “It was always going to be very challenging for Gavin,” says Sharples, “and he rose to the challenge. The quality of what he has produced is fantastic and as a production we’re very happy with the

D-20 giving us a filmic look, because that’s what this particular camera delivers.”

“We had a very good crew,” says Finney. “Our First ACs – Iain Struthers on the first unit and Mark Barrs on the second unit, learned a lot very quickly and became really good at running and maintaining the new technology. Also Alice Hobden, the Second AC, picked things up quickly and was very fast in setting up and changing cameras over. You need good crew like that.” Speed of operation was an absolute necessity as the production had only four and a half weeks to complete each feature-length episode, a feat that would never have been achieved without an efficient crew and the phenomenally detailed pre-planning of Director Vadim Jean.

Communication between Finney’s crew and ARRI Media was of vital importance, especially as the D-20 was a system new to all involved and there were technical challenges to overcome.

“The level of support was exemplary,” he states. “We gave a lot of feedback in the early days about things we thought could be improved, like how the menu was laid out, and two weeks later the engineers came back and they’d re-written the menus, from our input. That was very good to see, that our feedback was being taken on board and actually acted upon.” I Mark Hope-Jones

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FIRST

PRODUCTIONS Many have looked at the ARRIFLEX 416 during trade shows and special showings and Cinematographers and Assistants have used the 416 camera now in the US, France, Germany, and the UK on TV films, TV series, commercials and documentaries. The feedback has exceeded expectations. The full interviews with more photos can be found in the ARRI Email Newsletter 18 at www.arri.de/entry/newsletter.htm

Viewfinder “The viewing system on the the 416 is intense! All the cameraman I have worked with that have used the 416 fell in love with it, since it makes their job so much easier. The moment they put their eyes on the viewfinder it blows them away how bright it is!”

Camera Assistant Jay Feather

“The image in the viewfinder is very bright and has a lot of contrast, it is really a class above other 16mm cameras. Especially during our night shoots I had for the first time on a 16mm camera the feeling that I could see as well as the film does.”

Cinematographer Christoph Chassée

Weight and Ergonomics “The 416 is spectacular! The SR 3 was a great camera, but lots of people go to 16 if they want hand held, and the SR 3 was always a bit awkward on the shoulder. The 416 in contrast is unbelievably comfortable, and so much lighter. I don’t even know how that is possible, but it makes hand held much easier.”

Camera Assistant Jay Feather

“The weight of the camera is amazing. I thought it was very lightweight for hand held. I usually leave everything on the camera, the full six-by matte box and everything, and I was really happy with how light it was.”

Cinematographer August Jakobsson

“The handling on the shoulder is sensational. And we made use of that a lot in Tango, Tango; there are a lot of hand held shots. The camera is very easy to use, so we could work very fast and comfortably.”

Cinematographer Christoph Chassée

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“The 416 is lighter and thus easier to transport. Oh, and we really love the new camera handle! It is properly balanced, has many attachment points and I can grip it securely. This makes a big difference.”

Camera Assistant Armin Golisano

“I agree. That seems like such a small detail, but if you cannot grip a camera securely by the handle, and if you cannot attach anything to it, it slows everything down. The 416 handle is great.”

Cinematographer Peter von Haller

Sound “It is so quiet that we sometimes did not know if it was running or not. A really quiet camera is great, as it saves time that we would have spent in the past dealing with sound issues. Our soundman said: “I cannot hear this camera at all, even when the microphone was pointed directly at the camera.”

Camera Assistant Alannah Sennheiser

Steadicam “I own an Aaton, and I have worked a lot with SR’s and so I was curious how the 416 worked out on the Steadicam. Our Steadicam operator was impressed. He said the 416 has the least amount of weight shift of all the 16 mm cameras.”

Cinematographer Will Rexer

“The Steadicam operator was happy, the 416 is very light.”Camera Assistant Jay Feather

VISIONARRI

PETER VON HALLER (left) together with Armin Golisano

AUGUST JACOBSSON (right) together with Jacob Barrie

RGB ARRIGLOW

Magazines

“It really did help! I had some shots against a green screen, and then against a blue background and then a black background and a white background, and on some the ARRIGLOW colour just blended in, so we changed it. I never thought I would have needed an ARRIGLOW that can change its colour, but there we were, and it really helped!”

“Changing mags is quick, no-one is waiting around for you and once the loaders got used to the different method for loading the mags, they were super fast.”

Cinematographer Will Rexer

“The multi-colour ARRIGLOW option helped us just yesterday.

We were shooting against black, and the DP said he could not see the glow very well, so I switched to glow setting 8. I said “try this”, and he liked it.”

Camera Assistant Jay Feather

“Magazine loading is very simple. I looked at it once, tried it and it worked OK for me.”

Camera Assistant Alannah Sennheiser

“Changing Mags was very fast and easy, one can tell that this is a carefully considered system. It is a pleasure to work with.”

Cinematographer Lothar Stickelbrucks

Camera Assistant Jay Feather

“Oh, yeah, the RGB ARRIGLOW is very cool! You can change colours! That was great at night, but I also used it for a green screen scene, and played with the colours to find the one I could see the best.”

Cinematographer August Jakobsson 13

FIRST

PRODUCTIONS Especially in Super 16, the choice of lens is crucial for the resulting image quality. For this reason many cinematographers are now using modern 35 format lenses on 16 mm cameras, since many 16 mm lenses are of an older design. To cover the wide end in 16 mm, a new generation of 16 format lenses has been designed by ARRI and Zeiss, the Ultra 16 lenses.

“We used the Ultra 16 lenses a lot and we are completely and exceedingly enthusiastic about them!”

Cinematographer Christoph Chassée on the set of Tango, Tango

Like the Master Primes, the Ultra 16 lenses combine high speed with outstanding optical performance. With a widest stop of T1.3 they allow shooting in low or available light, so are easy on the lighting budget, create more natural looking images and provide the cinematic look including, where necessary, a shallow depth of field.

Equalled by no other Super 16 lens in optical performance, they join the other

ARRI/Zeiss lenses in elevating the Super 16 image to its highest possible quality.

Together with the first pre-series ARRIFLEX 416 cameras, the first pre-series Ultra 16 lenses have hit the set to very positive acclaim. Here is a small sample of opinions from the field. The full interviews with more photos can be found in the ARRI Email Newsletter 18 at www.arri.de/entry/newsletter.htm

“In telecine I can see when people are using older lenses, the image looks softer and muddier and I can see colour fringes on some of the older wide angle lenses. In 16 this is very crucial: you want to have the sharpest image to begin with. Sometimes it is sad to see all the effort that goes into the set and the acting and art department and so on, only to produce a muddy image because someone was too cheap to spring for a modern lens, or to see an image with a bad exposure. If you expose properly, use modern film stocks and modern lenses, Super 16 can look fantastic!”

Senior Colourist Bertl Grabmayr

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VISIONARRI

“The Ultra 16 lenses look very good, and the T1.3 has helped us out at night. There was one scene that was a shot of two streets around Montmartre at night. We neither had the time nor do we have the budget to light two streets, and being able to use the Ultra 16 at T1.3 allowed us to shoot with available light and still get a great image with lots of detail and a good exposure. Especially on a wide shot, T1.3 can make a big difference.”

Cinematographer Peter von Haller on the set of The Russian Lover

“The Ultra 16 lenses are head and shoulders above the older lenses. Just looking at ease of use, ergonomics, their size, the type of markings. If you simply look through them they are tack sharp, you can tell just by looking through the viewfinder. They look just as sharp as the Master Primes do on 35 cameras.”

Cinematographer Matt Siegel, here setting up a wide angle shot in the mountains of the Olympic Peninsula

“The Ultra 16 lenses are gorgeous. We did some wide shots in the Rain Forest, looking straight up into the Cedar trees, and those were phenomenal. I love the 416 camera for all the improvements that help me during shooting, but I think for the image quality the Ultra 16 lenses are a tremendous leap forward.

For 16, the film stock and the lenses you use are very important factors for the image quality you will get. We shot all the Words on the Wind footage with the new Vision2 Kodak stocks and with the best lenses we could get a hold of: Ultra 16, Master Primes and Ultra Primes. This will give us the best resolution possible. I think if people really understood the part a lens has in the final image quality, they would not use older lenses anymore and choose their lenses more carefully, which is especially important in 16.”

Main Features

Cinematographer Chris Hart, here looking straight up into the Cedar trees through an Ultra 16 lens

Five Modern Wide Angle, Close Focus Super 16 Primes 6, 8, 9.5, 12 & 14mm High Speed-T1.3 for complete control over depth of field for shooting in low or available light for natural looking images for fast paced production environments for tight lighting budgets Highest Optical Performance in its Class high contrast and resolution T* XP coating ensures flare resistance image geometry free of distortions minimized chromatic aberration Smooth & Robust Mechanics Matches Other ARRI/Zeiss Lenses extending the focal range of Ultra Primes and Master Primes in the wide end for Super 16 same size & ergonomics as Ultra Primes

Angle of view comparison:

Super Colour Matched to Ultra Primes, Master Primes, Variable Primes & Lightweight Zoom LWZ-1

The illustration shows the horizontal angle of view for the Ultra 16 lenses and the Ultra Prime lenses for the Super 16 format 15

TRADING Crime Drama Trade posts at ARRI Film & TV Directed by Marco Kreuzpaintner (Summer Storm, Ganz und Gar), Trade is a high profile international project posted entirely at ARRI Film & TV in Munich. Produced by Roland Emmerich and Rosilyn Heller, production company Claussen+Wöbke+Putz was a co-producer responsible for the post-production.

Trade is planned for release in German cinemas in 2007 by Twentieth Century Fox.

Trade is based on a New York Times article by Peter Landsman about the modern day slave trade. Roland Emmerich's company Centropolis bought the rights to the story. Roland Emmerich had initially intended to direct the film about this highly explosive subject himself, but passed the baton to Director Marco Kreuzpaintner, after Kreuzpaintner’s film Summer Storm was brought to his attention.

Trade focuses on the desperate plight of the families whose loved ones have become victims of the increasing trade of sex trafficking. Ray (Kevin Kline), a police officer whose daughter has fallen victim to this crime, meets Mexican boy Jorge (Cesar Ramos) during his investigations. They forge a special bond and Ray assists the boy in hunting for his sister who is missing, presumed kidnapped. “Two and a half years ago the article confronted Americans with the shocking fact, that each year 50,000 girls, boys, and young women are smuggled into the US, to be sold as sex slaves. The victims come from Central and South American countries, particularly from Mexico, but also from Eastern Europe and are smuggled into the US via Mexico. Sometimes, they are auctioned on the internet. Even today, there are no laws in the Unites States making the sex trade a punishable offense. These cases are simply considered illegal entries into the US.

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The girls, boys and young women are sent back to their countries following regular deportation procedures without receiving protection from their perpetrators, who, of course, attempt to smuggle them across the border again,” says Kreuzpaintner. The film was shot in Mexico and the US. The entire post production was completed at ARRI Film & TV in Munich. The film was worked on as a 2K Digital Intermediate and the visual effects and titles (title design: Lutz Lemke) were also produced and integrated into the DI at ARRI. “From the beginning, we wanted an authentic look, but wanted to show the difference between Mexico and the US. Mexico has very crisp colours and high contrasts. The US on the other hand, has a lot less colour,” explains DoP Daniel Gottschalk.

“Trade was a very complex project that had to be shot in different landscapes and in various lighting moods on many different locations. Using the DI process in post production was very helpful in giving this project a consistent look.

Despite the additional cost, we never regretted the decision, not even for a moment. We were much more flexible, we were able to quickly check results throughout the process and we were able to quickly communicate them to our partners, which allowed us to obtain the required results, faster. We were

able to cut down the additional cost that way, too” says Producer Jakob Claussen.

ARRI Colourist Rainer Schmidt executed the grading primarily in the new Lustre RGB Suite with the large, theatre size screen at ARRI. Only a few sequences of the film were graded afterwards on the Lustre Master Suite.

“The goal was to create a look that was generated digitally, but closely followed the classical work process. That’s why we used the Lustre plug-in for the bleach bypass process and tried to correct the film in the primary version and avoided using the secondary grading. The basic idea was to combine the traditional with the modern,” explains Gottschalk. “First we thought we would do everything analog in the lab, but then we changed our minds,” continues the DoP, who is familiar with working on the Lustre system from his work in commercials.

That’s why he worked without filters during the shoot, “to deliver a negative as clean as possible with all the information to be processed in the DI.” A lot was shot handheld. “That’s why things weren’t always perfect and had to be corrected in post. Like I said, authenticity was what we went for, and that’s why we wanted to use the DI in a subtle way, as a tool, but didn’t want to let it become an end in itself,” he continues.

VISIONARRI

POST “I wanted to complete post production at ARRI in Munich, because I know the people there really well. I can discuss everything with Sepp Reidinger and the team at ARRI. I know that everything there will be done as intended by Daniel and myself. The people at ARRI Munich know me. I more or less grew up with them,” says Kreuzpaintner.

The Director and the DoP agree: once DI – always DI. And they quote Roland Emmerich, who has decided to never again make a film without DI. “I can still hear Roland: “Never again without DI” – which makes even more sense in the case of his films which are so digital effects heavy. In any case, my next project Krabat will be a DI film as well.

I’m making it with Daniel and we’ll post it, like all my projects, at ARRI,” explains Kreuzpaintner.

Speaking of digital effects, all of the visual effects and animations for Trade were made at ARRI Digital Film in Munich. “There is, for example, a scene at the airport in Mexico City. But we were not allowed to shoot there and had to dress a convention centre close to the airport to serve as the location. But in the background, we were supposed to see a plane take off, which we inserted later as a 3D object. The same had to be done in another scene, in which the lead actress sits in the plane as another plane cuts across it. All the VFX sequences were inserted digitally into the

ON SET

ALICJA BACHLEDA on set

DoP DANIEL GOTTSCHALK DoP DANIEL GOTTSCHALK IN THE FRONT LINE Rosilyn Heller, Director Marco Kreuzpaintner and DoP Daniel Gottschalk (from left to right)

film and were worked on in the DI process,” explains the Director.

Kreuzpaintner continues to say that, in light of the increasing popularity of digital cinema, the DI is indispensable. “Actually, I used to be an opponent of digital release strategies, which will be very common in the near future. But now, I have to say, I think every filmmaker should be happy about digital cinema, because it ensures that films are projected in their best possible version – just like they are now in the Lustre Suite at ARRI.” Gottschalk continues: “The projection is by now pretty good and continues to get better. And the projection which ARRI has in the Lustre is fantastic. This is a great advantage for the DoP, who can assume that all the copies of the print are going to look the same. We know that there are great qualitative fluctuations making mass duplications in the lab, that will no longer be an issue. The light intensive projector though, like the one in the Lustre at ARRI, has to be re-calibrated every two or three days and I am not sure how diligent the movie theatres will be about this, and without that happening, there may be quality issues.”

The complex sound recording was completed on “Stage One“ by Recording Supervisor, Martin Steyer, who has, previously, mixed the features The White Massai and Snowland at ARRI Sound.

He insists that “Stage One“ is his favorite sound recording stage. To him

the teamwork with the two Mexican musicians, who wrote the music for Trade and who were in the studio during the mix, was particularly interesting.

“At first we worked with layouts and only towards the end and on short notice, did we get the actual music.

Only during the main mixing session did we work out where and how we would weave in the music. To be as flexible as possible, the music was recorded in many different versions and we had up to seven 5.1 channel music stems with individual instruments. That allowed us to take out or highlight various instruments and to change the volume, because the settings of the music couldn’t be adjusted during prep, due to the time pressure.“ Jakob Claussen adds: “The mix in the large ARRI studio was a dream come true. Technically and in terms of staff, no wish remained unfulfilled.”

In conclusion, the Producers commented, “The teamwork with the staff at ARRI was outstanding. We were under tremendous time pressure because of the complex production structures, and involved decision making processes but we were, despite all the complexities involved in the production, treated professionally and with courtesy, and we are very grateful for that.” I Jochen Hähnel

17

PERFU

The adaptation of Patrick Süskind’s bestseller Perfume is certainly among the most noted and most interesting, and with a budget of 50 million Euros one of the most expensive German film productions in recent years.

VisionARRI spoke to Director Tom Tykwer and DoP Frank Griebe, as well as to other key players of this production.

Among other things, they talked about the shoot, the experience grading digitally, about the creative transference of scent to film and about post production at ARRI Film & TV. During the shoot the negative was sent daily to the ARRI lab in Munich, to be processed and to be scanned onto Digital Betacam. After the initial Avid cut (Cutter: Alex Berner), the complex Digital Intermediate process was also completed at ARRI Film & TV. The two Colourists, Florian “Utsi” Martin and Traudl Nicholson (who had been in charge of the on-set colour timing of the video samples) were responsible for the grading on the Lustre Master Station.

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One of the greatest creative challenges was, without a doubt, the creative implementation of scents, smells and odours on film. “That, of course, was one of the key issues. I wanted to make the film as subjective as possible about the perception of the main character, Jean-Baptiste Grenouille. I wanted to tell the story not through the eyes, but through the nose of this young man.

We wanted to find a new way to capture this with the camera, so we would never have to visualize scents with the help of CGI (computer graphic images) or digital effects. That’s why we wanted a sort of rhythmic composition, consisting of camera moves and cuts as well as the interplay with music,”explains Tom Tykwer.

“The musical element plays an important part in Perfume, because the entire vocabulary of the world of perfume making is taken from the study of music.

One speaks of a ‘note’ of a scent, of ‘chords’, and of the ‘composition’ of a scent and so forth – all these terms are from the field of music,” continues the Director, who has also composed the score for the film. “At the same time, it is of course obvious, that there are moments where we had to rely heavily on colour for dramatic purposes and in such a way, that the audience can clearly follow the dramatic use of the colours.”

“We basically approached this the same way Patrick Süskind did in the novel.

He used the clear and precise power of language and we used the power of images, sounds and music,” Producer Bernd Eichinger says.

VISIONARRI

ME

HEARING & SEEING SCENTS

Director Tom Tyker and DoP Frank Griebe discuss the DI on the feature film.

ACTRESS Rachel Hurd-Wood as Laura

JEAN-BAPTISTE GRENOUILLE (Ben Whishaw) in the French Massif Central JEAN-BAPTISTE GRENOUILLE’S first murder

“We decided, very consciously, not to create a new look for scents etc., or to convert scents into colours, but instead we wanted to create a world, that seems realistic without exaggerating. At the same time, the film takes up the subject of the eighteenth century and is supposed to show the grubbiness and dirtiness of that time,” says DoP Frank Griebe.

The Colourists, Traudl Nicholson and Florian “Utsi” Martin, who worked on the film in ARRI’s Lustre Grading Suite, using the Digital Intermediate process, report: “The main issue, during the colour grading continued to be how we could make the scenes in Paris look as dirty as possible and how we could visualize the stench, that must have permeated Paris at that time. We worked, in this case, with de-saturation, but it was difficult to find an intermediate level, that would look realistic and at the same time be accessible to the audience.”

Towards the end, in Grasse, the sunny perfume capital of southern France, the film becomes warmer and more pleasant. “To convey the Mediterranean charm, with the sun, gorgeous blossoms and scents of the lavender fields, we really dug in during the DI and enhanced the colours, so they’d glow vividly but naturally,” they continued.

On the other hand, even here the darkness, in which the main character, the murderer, lives the life of a shadow figure, was implemented masterfully.

Director Tom Tykwer, DoP Frank Griebe and Set Designer Uli Hanisch as well as the French Costume Designer Pierre-Yves Gayraud prepared the scenes meticulously, even though it had been determined from the start that the film would be entirely digitally graded as a DI. “The basic idea and mood of a film are generally decided upon in the lighting and the set design. The main issue was how we would deal with

specific colours. After all, not everything can be accomplished in post and one has to ‘plant’ the pictures that one wants to perfect during the DI. It’s all about optimizing an established route,” explain the Director and the DoP. “It’s of course possible to go a completely different direction. There is a scene in the film where we turned day into night during the DI, because it connected better, even though it was lit differently. That’s possible. For the visual homogeneity, the correct mood of a film, the DI is a unique tool,” raves Tom Tykwer, who, with Perfume, has for the first time completed colour grading on the large screen in the Lustre Grading Suite. “The best technology alone is not sufficient enough, a lot depends on the Operator, and with Traudl Nicholson and Florian “Utsi” Martin we had the right guys – an absolutely ideal team,” Tom Tykwer and Frank Griebe agree.

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PERFUME – HEARING & SEEING SCENTS

“THE MOST BEAUTIFUL MOMENT WAS RIGHT AFTER A TEST SCREENING IN THE ARRI THEATRE WHEN BERND EICHINGER TOLD US THAT THE FILM HAD TURNED OUT EXACTLY THE WAY HE HAD IMAGINED IT.”

“It was very practical and pleasant to have Utsi, who had extensive knowledge of the mood of the film as well as of our needs, in terms of how we wanted to create this mood. He was able to, without preconceived notions, bring the film into its own. It really was a fantastic co-operation. Traudl was from the very beginning very much familiar with the material and had a deep insight into the developments of its original conception, which left her, like all of us, a little biased,” says Tom Tykwer and continues: “The work in ARRI’s Lustre suite was always a bit like a visit to a ‘charmed island’. The amazing effect that one can watch one’s pictures in spectacular quality and can still do almost everything to them, was completely new to me. It is an incredibly good, and for the creative processes a rather revolutionary, system.”

Obviously it was necessary to intervene occasionally, for example, the red hair colour of both of the lead actors was supposed to shine brightly at all times.

It was very complex, because we had to pull up a mask for the hair. We also had to build the flicker of candle light into twenty set-ups with lanterns, because in reality there were light bulbs in these lanterns,” the two Colourists report. The two Colourists divided the grading work at ARRI between themselves, each working one of two daily shifts.

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“It was clear to us; the two Colourists are a perfect team. First of all, because Traudl Nicholson has known Tom Tykwer and Frank Griebe very well for many years and has worked with them on several films. Secondly, because with Utsi Martin we had one of the most experienced Lustre Colour Graders on board. That has really helped us a lot on this difficult project, not only because we had to make a lot of onlines in a very short amount of time,” says Post Production Producer Dominik Timborn, who supervised and co-ordinated the project for ARRI Digital Film but was also the responsible DI Supervisor on Perfume.

Another unique aspect of the colour grading on Perfume is that DoP Frank Griebe pre-determined the look with the help of digital photos. “I took digital photos, during the shoot, and simply worked on them on the computer in Photoshop. These pictures were then sent to Traudl Nicholson in Munich, who finished the rushes accordingly. That way, we always had a great sample. In close co-ordination and communication with Traudl, we started to feel our way towards the final look of the film throughout the shoot,” explains Frank Griebe. That’s why, in this case, there was no colour guide, as is otherwise common. “Again, I do want to emphasize at this point, that it is no longer necessary for the DoP to be present during the entire DI colour

grading. We accomplished a lot with the ARRI team and then later on the spot with the DoP and the Director, which worked very well,” he continues.

As we have mentioned before, there is no digital enhancement of the scents in the colours. “Except for one very beautiful scene, with the first victim, a young girl. There, Jean-Baptiste Grenouille, played by Ben Whishaw, begins to smell, we follow him, we accompany him and we do see the scent he follows. Visually, we have accomplished that with cuts and montage sequences in which we see details of her,” says Frank Griebe.

“Later, which I already knew during prep, he kills her almost by accident.

She screams, he covers her mouth and she suffocates as a result. Then she lies there and he begins to smell her, more or less devouring her with his nose. He begins to undress her and smells her entire body. This meant that colour grading really had to get into it, because the colour of her body changes slowly in the grading. Which means her initially warm skin tone becomes more and more pale and grey. I knew on the set already that I could accomplish that in the digital colour grading and that really went very well,” he continues to explain. ”We made a rather crass colour intervention here: the girl turns completely pale, almost pale blue, and very quickly looks very dead,” adds Colourist Utsi Martin.

VISIONARRI

GRENOUILLE (Ben Whishaw)

“WHEN I MAKE A FILM IT IS AN OBVIOUS REQUIREMENT THAT I MAKE IT WITH ARRI.“ Otherwise, in Perfume scent manifests itself more through the music. That’s why it was very important to Tom Tykwer to be able to hear the score on the set, in order to follow its rhythm and its emotional lead during filming.

Tom Tykwer, as mentioned earlier, has composed the score to Perfume himself, “not out of necessity, as in the past, because back then I was unable to afford a Composer. But because I realized that it was equally important to me to develop the musical element of this film as to develop all the other elements, which to me are essential to filmmaking, such as the visuals and the dialogue. Bringing together images and music is for me almost the greatest delight in making a film. In retrospect, as a Composer, I also had the tremendous fortune to get to work with one of the best orchestras in the world, the Berlin Philharmonics with Simon Rattle conducting. Something really special happened there, to be able to run your own music through such an orchestra has something of that phenomenal transformational effect you get when you are running your images through the Lustre. They are again being infused by a certain quality, depth and complexity

LAURA (Rachel Hurd-Wood) dancing around a fire PERFUMER BALDINI played by Dustin Hoffman

that one never expected before.

That was a great experience for me,” he continues.

Frank Griebe remembers a few sequences, in which actual perfume is being made, that illustrates this further.

“Those are incredibly technical scenes.

And to create a certain mood on the set, Tom just took a boom box, put on the CD with the layout music and we shot to the music. That created a wonderful mood. It’s a great way to work, because, almost automatically, one goes about things with a much greater sense of rhythm and timing, for example, in the case of a pan. You pull in and out. That makes for a very musical camera movement, and it is much easier to imagine what that scene will look like in the finished film.”

Producer Bernd Eichinger was extremely happy with the result. “The most beautiful moment was right after a test screening in the ARRI theatre when Bernd Eichinger told us that the film had turned out exactly the way he had imagined it,” report Tom Tykwer and Frank Griebe.

Much more about this costly shoot, the research for Perfume – The Story of a Murderer, and the Paris of that time period can be learned from the DVD Box set, which contains an extensive “Making of” segment. The DVD’s including all teasers and the movie trailer and so forth – were also made at ARRI. The digitized and finished film was recorded out to film several times on four ARRILASERs, in one of the last steps in the process. ARRI Munich also produced the digital master (DCI) for digital projection in the increasingly popular digital cinemas. Perfume – The Story of a Murderer is a Constantin Film release and will be distributed in the US through Steven Spielberg’s company, Dreamworks.

In light of his next film – a political thriller set mostly in Berlin, more, he says, he can’t reveal at the moment – Director Tom Tykwer thinks back on his longstanding relationship with ARRI and his experiences with the company: “When I make a film it is an obvious requirement that I make it with ARRI. That’s pretty much a rule that applies to every one of my projects. It’s something that developed and has a long tradition, because we have worked together for

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PERFUME – HEARING AND SEEING SCENTS

“OVER THE YEARS IT HAS BECOME PRETTY CLEAR THAT WE ARE ABLE TO GET THE BEST PACKAGE, CREATIVE ENERGY AND THE BEST KNOW-HOW FROM ARRI.”

a long time – since 1997 and the film Winterschläfer, to be exact. A lot, of course, has to do with the fact that Frank Griebe also likes to work with ARRI and prefers to shoot on ARRI cameras. Over the years it has become pretty clear that we are able to get the best package, creative energy and the best know-how from ARRI,” the two continue to explain.

“ARRI has always been on par with my gradually growing demands on technology and equipment.”

“At ARRI we were always able to use state-of-the-art technology. There is a reason why ARRI has completely entered the digital age and in a leading role at that. We have often discussed this with ARRI, which led to an exchange of experiences and ideas. ARRI has thereby given me insight into new possibilities and Frank and I were able to articulate our needs and our interests. That has led to an extensive dialogue, which has lead to a deep and trusting collaboration with ARRI and their staff. ARRI therefore, is almost like family to me.

Frank and I, more or less, grew up as filmmakers with ARRI. From a creative perspective as well as because of the technological inventiveness, which I believe exists there, ARRI has sort of become a second home. And I will continue to stubbornly insist upon keeping it that way,” Director Tom Tykwer concludes. I Jochen Hähnel

22

VISIONARRI

SONY PAINTS THE TOWN

Following on from the success of the acclaimed Bouncing Balls commercial, where hundreds of thousands of brightly coloured bouncing balls were actually tipped down a street in San Francisco, Sony has stepped up its Colour Like No Other campaign to promote its high-definition BRAVIA LCD TV range with a second commercial. The latest advert uses seventy thousand litres of paint and features massive paint explosions to illustrate the message that the colour you’ll see on a Sony BRAVIA LCD screen will be ‘like no other’.

Produced by production house Academy for advertising agency Fallon, the commercial was directed by award-winning Jonathan Glazer, who has been responsible for many popular ads, including several memorable campaigns for both Guinness and Stella Artois.

The commercial stars an empty tower block in Glasgow, Scotland, where filming took ten days and involved a sixteen person camera crew and seven person grip team. Director of Photography Daniel Landin was in charge of capturing all the action as huge quantities of paint were blasted across the high-rise using fireworks.

With only one chance to get each set-up the timing and course of events had to be worked out with great detail. Every camera was carefully placed to capture various perspectives of each explosion sequence, but decisions about camera positions were made long before anyone arrived on site.

“We worked in quite a detailed way when pre-visualizing this shoot. Using a three-dimensional virtual replica of the location we worked out exactly where the most effective places for the cameras would be, we were able to use the computer to speculate on the most dramatic angles to illustrate the paint explosions, so the piece was choreographed to the musical track before filming started,” recalls Landin, “Chris Oddy, the

Designer, also tested the different ways in which the paint would actually detonate. We went through many different levels of viscosity and opacity of paint in order to get the greatest sense of the fluid moving through the air, without it essentially being detonated into a fine mist.”

Camera and grip equipment for this multi-camera shoot was supplied by ARRI Media, London, and comprised seven ARRIFLEX 435s and an ARRIFLEX 235, as well as a large fleet of lenses that included Master Primes and the Master Zoom. Landin selected the Master Primes after carrying out some tests: “I found that they are very sharp, they hold the colour saturation very well and they don’t breathe when the focus is pulled. Essentially, because the job was all about colour and sharpness they were the obvious choice.”

As much natural light as possible was used for filming which meant waiting for sunny conditions, but Glasgow is not 23

SONY PAINTS THE TOWN

renowned for good weather and when the sun did come out it did not move round onto the required side of the vast multi-story structure until two in the afternoon. “Jon Glazer and I would spend the morning placing the cameras. We would visit all the different camera positions and choose the lenses, working out what would add the greatest drama to the effect,” explains Landin, “Then our Key Grip, Caddy (David Cadwallader), would have to build protective housing around the camera positions that were vulnerable to the explosions, because not only was the paint detonated but the barrels that held the paint would fly off when the explosion happened.”

“Another problem we had, was that it was important that the lenses were not covered in paint before the shot was finished. Although the sequences were never more than four to eight seconds long, what one didn’t want to happen was that the lens was wiped out in the first second when there could be an interesting piece of action in the fourth.”

As well as carefully positioned cameras Landin also utilized hand-held: “Jon didn’t want it to seem like it was a shoot done in post-production. We were very aware that it should feel like an event that had happened and been filmed. We wanted it to feel like the cameras were responding emotionally to the situation. The fact that the cameras could move 24

beneath the trees and react, it makes those shots seem more vivid.”

Even though each explosion sequence was only between four to eight seconds long it would take up to a day for the pyrotechnic team to rig – so there was no possibility of a second take. This put an enormous amount of pressure on the Operators when there were moving cameras involved, so rehearsals became key to ensuring a take went smoothly. “We established a kind of technique where we would create an audio representation of the pyrotechnic sequence. If there were going to be ten or twelve different explosions happening we tried to give them different sounds so the Operators could basically rehearse the moves they were going to make. They would start off looking in one direction and when they knew an event was going to happen they would then pan quickly to the right, to the point it was about to happen, and tilt up. The Operators needed to know that sequence and they needed to feel it before we let the pyrotechnics off because we couldn’t do it again.”

For the grand finale, coloured explosions travel all the way up the twenty-two story tower block. Colour co-ordinated barrels of paint were attached to the outside of the building, each level was then exploded in quick succession to achieve a stunning rainbow effect. To get in close to the action one

VISIONARRI (From top to bottom) SUSPENDED from a corner of

the tower block. FIFTEEN FEET out from an upper floor looking back at the building. CAPTURING the action from a nearby rooftop

“WE WOULD VISIT ALL THE DIFFERENT CAMERA POSITIONS AND CHOOSE THE LENSES, WORKING OUT WHAT WOULD ADD THE GREATEST DRAMA TO THE EFFECT.” (From top to bottom)

AFTER A TAKE, Grip Stuart Godfrey and Key Grip David Cadwallader.

BACK FROM THE FRONT LINE, Operator Zac Nicholson.

GRABBING A BREAK, Director Jonathan Glazer and DoP Daniel Landin

camera was suspended fifteen feet out of a window on one of the upper floors to film the explosions travelling up the high-rise. Another was suspended from a corner of the building and then rotated one hundred and eighty degrees during the take. This enabled the camera to start off looking down at the explosions, then flip round to continue following them as they carried on rising upwards. In order to keep up with the extreme speed of the explosions, which took less than four seconds to reach the top, the turn also had to be extremely quick, so was executed by hand using a specially built rig as a remote head would not have been fast enough.

Afterwards all the paint had to be cleared away. The use of a special nontoxic water-based paint, that was safe enough to drink and harmless to skin, made it easy to scrape-up once the water had evaporated - but it still took five days and sixty people! I To view the full Sony BRAVIA advert visit www.bravia-advert.com Michelle Smith

25

AN INTERVIEW WITH ALWIN KUCHLER BSC

DISCUSSING A SHOT

DoP Alwin Kuchler BSC and Director Danny Boyle

26

Conventional wisdom has it that our sun, the star around which our solar system revolves, has enough hydrogen to burn for another five billion years.

But what if conventional wisdom is wrong? What if a super-symmetric nucleus could consume that star from within, like a cancer, and begin to extinguish the nuclear furnace at its centre a mere fifty years from today? This is the premise behind a new film from Director Danny Boyle, Writer Alex Garland and Producer Andrew Macdonald, who have previously collaborated on The Beach (2000) and 28 Days Later (2002). Sunshine tells the story of a team of astronauts who are sent on a mission to revive the sun with a colossal stellar bomb and thereby safeguard mankind. Several years into their journey and out of contact with Earth, the crew of eight men and women are beyond all help when events take a sinister turn.

VISIONARRI

Sunshine was photographed by Alwin Kuchler BSC with ARRICAM Studio, 765, 435 and 235 cameras supplied by ARRI Media, London.

A great deal of the action of this film takes place on a spaceship. What was your general approach to lighting the interior of the ship?

VA:

and if you spend a long time in that room and then suddenly step out in the sun, it’s almost painful because your eyes cannot react as fast as they are being hit by the light. We wanted to recreate this, so the audience is exposed for long periods to darkened scenes and when they come to see the sun it has, even in the cinema, a strong physical effect.

AK:

The first radical decision we made was to shoot as much with practical lights as we could. There’s a whole new generation of cold cathode tube lights which are slimmer and more powerful than the old ones, and there are also a lot of new LED lights; the new fittings are so much smaller and yet their output is quite strong. We had something like a thousand practicals, with up to four practical electricians employed for the whole time just to do the wiring.

“WE WANTED THE SUN TO ALWAYS FEEL AS PHYSICAL TO THE AUDIENCE AS POSSIBLE.”

We had Reuben Garrett as a Gaffer, and worked with a specialist company called Light by Numbers, which is a really interesting company because they’ve devised a whole new system of operating dimmers.

They have a separate channel for every single practical, which they can program in a very simple and logical way. For example we had a corridor lit by about one hundred fluorescent tubes and they all had to be programmed to dim up and down as someone walks past, which is quite complicated, but this company were able to do it very easily and quickly. It was great because on a film of this scale you have a second unit who come back and do pickups of things like monitors and hands pushing buttons, and on the lighting desk computer all they had to do was punch in the slate number and all the lights would go back to the exact settings that the main unit had used.

There was one scene that took place in the observation room, where someone completely overexposes himself to the sun and the image is almost totally burned out; there is just a little detail in the highlights, the odd bit of human eye or the outline of a nose. Theoretically, given what is possible in the grade, I needn’t have gone as far as I did, but by actually using that much light and creating the effect on set rather than in a grading suite, it made a bigger impact on the actors and allowed them to produce a much more authentic performance. The sun is this massive, uncontrollable organic mass, and that’s what we wanted to try to translate rather than always relying on CGI. The difficult thing is that, although there are some fantastic images of the sun you can download from NASA, no-one really knows what it looks like in the detail, or what it would feel like.

The challenge of this film was not having a frame of reference for how things should look. If you’re on a normal set and you’re shooting something like a living room, you have all these reference points in your head already; you know if it looks right or wrong, but in an observation room on a spaceship, completely flooded with sunlight, you have no idea.

VA: What was your lighting approach for the sun itself, and did it alter to reflect the progress of the spaceship towards its objective?

We wanted the sun to always feel as physical to the audience as possible. You know the way your eyes adjust to a darkened room, your irises open up,

AK:

The one thing I was thinking about for a long time was how on planet Earth we always associate strong sun with hard shadows, but the funny thing is that as you approach the sun, the light will get softer because you are being exposed to a huge light source, the same way as if you bounce a light into a twenty by twenty reflector – it becomes softer. So I was wondering if we should gradually soften the sunlight, because this is what would happen for real, but I don’t think audiences would have understood it.

VA: How was your working relationship with Danny Boyle?

I really loved it. I think he’s a great Director for a Cinematographer because he loves images that dazzle and entertain people. He gets these ideas and

AK:

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SUNSHINE

he’ll chase until he gets them, so he has this utter determination to get unusual visuals. His crews tend to really like him because he doesn’t have any barriers with the way he deals with people; everybody is welcome to put their suggestions into the pot. He has a boundless energy; we shot for seventeen weeks and by the end it was almost a relief to see him get a bit tired as well! It was such great fun because he was really supportive and interested in experimenting with all of these different techniques.

He seems keen on physical, tactile and in-camera effects rather than CGI. Did this mean you had to do a lot of testing before the shoot?

VA:

AK: We did a lot of testing, yes, with all sorts of film stocks, though unfortunately there are less and less stocks to play around with these days. We also tried a solarisation effect for one particular character. We tried different stocks and different ways of printing them; we found a lab in Canada which could do the solarisation. There was a lot of experimentation with different materials, with flaring, with over-exposure, and with mixing different lenses, like sphericals and anamorphics.

One thing Danny wanted to do was to play around with the psychology of time, with how the characters were perceiving time.

He had the idea of someone appearing maybe thirty feet away and then in the blink of an eye appearing five feet away, and then twenty feet away a moment later. We used special rigs constructed by Andy Mossman at ARRI Media to achieve this. Our general philosophy was that we wanted to do as many things physically and photographically as possible.

Danny developed something called the Earth Room, which was a realistic 360-degree rear projection in which characters on the ship can get the sensation that they’re back on planet Earth. We shot the footage for that on 65mm with the ARRI 765, which gives you incredibly rich detail for shots of things like forests or water crashing against a sea wall.

VA: On this film you chose Zeiss Ultra Primes & Hawk Anamorphics. What was it about them that suited the project?

AK: We wanted a contrasty look for Sunshine, which the Ultras have. This was also why I liked the Hawks in the end; I found them to be more contrasty than either the Primo E or C series. It meant I could go between the Ultras and the Hawks and get all the lenses from ARRI Media. Plus I prefer the ARRI bodies, which was important on this project because a lot of the spaces were very small; there was meant to be a sense of claustrophobia so it was good having a camera as compact as the ARRIFLEX 235. We were deliberately trying to work within tight constraints in order to make it as realistic as possible. Danny and the designer actually visited submarines for inspiration for the spaceship interiors.

We wanted the story to feel quite real at the start and then transform into something more internalised or dreamlike because the closer they get to the sun, the faster they travel, due to the gravitational pull, and it begins to have a psychological effect on the characters. This was another reason why we liked the anamorphics – because of the flare, but also because in these tight corridors they would create slight distortion to the lines, which we thought worked well for this element of the story.

Most of the film was shot anamorphic, except for the scenes where we actually see the sun. For these we had a huge wall of glitter curtain in front of which we hung golden discs of different sizes and threw a lot of light at them. When we shot them with anamorphics each individual disc gave off horizontal flare and it © 2005 TCFFC. All rights reserved.

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VISIONARRI

DoP ALWIN KUCHLER BSC

looked like a seventies disco wall. So I decided that any light supposed to be coming from the sun would be shot spherical, while everything under artificial light would be shot anamorphic.

VA: You also used the Ultra Prime 8R. What made you think it might be useful for Sunshine, and how did you go about testing the lens?

Well, we had limited space; we had the classic scenario where you have to shoot sets which after post production need to look far bigger than they actually were, so we had very geometrical sets which were designed to be scaled up afterwards with the help of CGI. It was the lack of distortion in the Ultra Prime 8R that got us interested. We did some tests on a studio floor; the designer was there already so we had parts of the sets on the floor and it was really impressive. It really did what it was supposed to do; there was no distortion. It keeps all the lines in the frame really straight and therefore creates the sense of a bigger space without giving away the fact that you’re using an extremely wide angle lens.

AK:

VA: The film is being put through a Digital Intermediate at The Moving Picture Company in London. What are your thoughts on this process?

AK: I’ve got mixed feelings about DI, because it seems to me that where we are now, you still get better quality taking the traditional route. But on the other hand, for a film like Sunshine, where you have so many CGI effects, it just doesn’t make sense to do that. I feel it’s in its early days, in terms of how the changes that are made digitally get translated back onto film when they output it. I still don’t think there is a norm there yet.

I try to shoot in the same way for a DI as I would for the traditional route. I think there’s a danger of relying too much on being able to fix things digitally because the more you apply digital technology, the more you create a digital look. One thing I think is very useful in DI is how you can put in windows and grade within the windows, for example making certain elements of the frame darker, because I never feel that looks too obviously digital. With colours you have to be careful; colours can very quickly take on a digital look. I also think it’s really important to grade on a big screen rather than a monitor because they have different effects on your judgement. I For the latest news on Sunshine visit www.sunshinedna.com Mark Hope-Jones

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ARRI & THE DIGITAL ARRI has made a name for itself worldwide in the area of the digital intermediate.

The creation of the ARRILASER and the ARRISCAN has decisively influenced this process and ARRI is not only an equipment manufacturer but also as a service provider of the digital intermediate. Many would agree that 35mm film still remains the best capturing medium for a product of superior quality. An obvious development resulting from the digital intermediate process is the digital cinema. The data exists in high resolution and only has to be “packaged” appropriately, to be shown in theatres and ARRI is prepared now for this alternative form of distribution of the near future.

The transition from the analog to the digital days of distribution requires significant new investments in digital projection technology from the companies and organizations participating in the value-added process.

Until now there are only about eighty screens in the German-speaking part of the world equipped for digital projection.

In July of last year, with the passing of the Digital Cinema System Specifications by the Digital Cinema Initiative, a group consisting of the seven major Hollywood studios (Disney/Buena Vista, Twentieth Century Fox, MGM/United Artists, Paramount, Columbia Tri-Star/Sony Pictures Entertainment, Universal Pictures and Warner Bros. Studios), the technical parameters for the digital cinema have for the first time been determined.

The subject of the Digital Cinema System Specifications are all the technical details that play a role in the post production, distribution and projection of digital movies. The largest part of these specifications deal with questions relating to the security of the content.

A development team at ARRI Film & TV in Munich is currently working on the implementation of the digital cinema specifications and has put together a workflow for the production of digital cinema masters. This includes tools for the packaging and certification of picture and sound content. For quality assurance reasons a test environment has been created that includes various server types and a Barco 2K DLP projector.

After the completion of the DCP (Digital Cinema Package) masters by ARRI Film & TV, they are then encoded and passed on to the appropriate distributors. ARRI is co-operating with companies such as XDC and T-Systems. There, the distribution DCPs are turned into release DCPs.

30

They are duplicated and each copy gets the necessary additional information (watermarking, navigation files, etc.) for use on the various systems in specific theatres. Coding management, logistics and playtime windows and their extensions are the responsibility of the distributor, so that a secure and harmonized workflow is guaranteed.

ARRI has produced the first DCP for a digital release of Perfume – The Story of a Murderer for Constantin Film.

Workflow for the Production of DCPs at ARRI Film & TV The edited and graded finished film is played in maximum resolution on the Lustre System with a specific gradinglook-up-table (LUT) onto a DVS Clipster.

In the next step, the data of the film is encoded by a Tandberg encoder in the MPEG-2 format. The resolution of the MPEG-2 data file is 1920 x 1080 pixels. The data rate of the MPEG-2 data stream is 80MBit/s.

In terms of the sound, the original sound mix that exists in a 24 bit Broadcast Wave File is transferred with appropriate Channel Mapping into a polyphone file.

VISIONARRI

CINEMA Then the picture and sound material is packaged in the MXF Interop format and encoded. To accomplish this, MXF developed the necessary specific certification tools. The various specifications of the playback servers currently on the market require an individual adaptation of the content.

The scope of services available at ARRI has again been increased with the new addition of the DCP production.

This results in major benefits for clients as the digital intermediate process can be immediately followed by the production of a digital cinema master.

Transporting unsecured film data to another provider is no longer necessary because all services can be provided under one roof. In addition, the client has the opportunity to check the end result in a test environment.

The production of digital cinema masters in DCI conforming JPEG2000 formats is currently under development at ARRI. I Markus Kannewischer

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New York In the autumn of 1987, freelance electrician John Vanderlinden took a call from Camera Service Center while he was working on location in Florida. He was surprised to be offered a job back in New York heading the maintenance department for the dolly and lighting inventory but he decided to accept, reasoning that it would provide a stable wage that would allow him to set up home in New Jersey before returning to life on the road.

Nineteen years later, John’s responsibilities encompass not only supporting the dolly and sound boom fleet and repairing and overhauling one of the largest lighting inventories on the East Coast – he also has thirty trucks and almost as many generators to maintain, a fleet that he designed and commissioned, working in one of the toughest environments in the United States: the streets of New York.

A tale of Born in New York, John has always had a passionate interest in things mechanical. As a teenager he successfully competed in off road motorcycle events, occasionally with his brother Glenn who manages the ARRI CSC NY lighting & grip department.

Although he now prefers to spend his weekends with his young family, John still occasionally rides on the road and once the snow comes, the family’s snow mobile is put to good use.

ARRI CSC NY has acquired a strong following for its location vehicles, and this encourages John to make every effort to ensure that the fleet is in the best possible condition and ready to go at any time. To beat the notorious New York traffic, trucks are leaving his Hoboken, New Jersey compound from the early hours, rain, snow or shine and no delay is tolerated. To ensure that he is providing the most suitable vehicle for the job, John searches for the best possible starting point – a strong and powerful vehicle that is equal to the task 32 32

ahead and straightforward to maintain.

In order to avoid the impact of the corrosion that many vehicles suffer on the East Coast due to the salting during the winter, John tends to source his fleet from the West Coast. Once the appropriate donor vehicle has been located, he arranges for the chassis to be modified to accept either generators, a suitable box or, for a design pioneered by ARRI CSC, a combined generator and box called an “All In One”. In addition provision has to be made for additional fuel tanks and storages boxes which are under slung along the wheelbase.

Some tractor units, such as the Peterbilt that John has just completed have two generators fitted. In each case, a custom made base supports them, and provision is made to access all sides of the generator for swift servicing or repair, another example of no effort being spared to avoid any delay on location.

Weight distribution and overall vehicle length are amongst the many aspects of a design that John has to take into

account. He has seen loads increase in size and weight over the years, and yet the vehicle must not exceed the legal maximum length or gross weight and must be easily maneuverable for city driving. Another area of change that John has witnessed is in the rules and regulations that the fleet must adhere to – the increase in the length allowed being just one example.

Although the vehicles don’t rack up the sort of miles undertaken by the Illumination Dynamics fleet, they do encounter enormous wear and tear due to the difficult nature of filming in New York and the surrounding states.

John’s efforts in presenting the very best vehicles possible reflects the philosophy of ARRI CSC and Illumination Dynamics, and the understanding that our vehicles are amongst the first on location and that those first impressions count.

They are built to ensure the maximum possible safety and reliability and they are built with passion and pride. I Simon Broad

VISIONARRI

Los Angeles Bob Cookson was born and raised in Southern California’s San Fernando Valley. Just like his counterpart John Vanderlinden on the East Coast, Bob loved to race off-road motorbikes with his brothers. He worked in the housing construction industry until a slowdown provided the opportunity to look elsewhere for employment.

What he thought would be a temporary job at Young Generators was the beginning of a new and stellar career in power generation and transportation for the entertainment industry.

During his eight years at Young’s, Bob worked as a mechanic, designer and operator – basically doing every job at the company except dispatching and accounting – and helped grow the business from six to thirty-five generators.

two cities In 1991, Bob moved to Hollywood Rental, expanding his responsibilities to include the fabrication of production vehicles and drivable generators.

Clients came from both the entertainment business and the growing televised sports industry.

Bob brought his years of experience and mechanical talent to Illumination Dynamics in 2001 as its Technical Operations Manager. With movie trucks already plentiful in Los Angeles, ID focused on the exacting requirements of the live broadcast business and created the Special Event Truck and the larger C-Unit for this market.

ID’s Special Event Trucks are unique to the industry. They are designed to carry the load requirements of live broadcast (including the generators, cable and distribution), but compact enough to easily drive the long distances between events and be space-efficient in a crowded stadium. Bob purchases

pre-owned fleet trucks with low mileage and in good condition. These trucks are reconfigured to his design for the specific application of the vehicle. The frames are stretched at a frame shop, but Bob and his crew at Illumination Dynamics do most other work in-house. It takes approximately eight weeks from start to finish (including time in the frame shop) to customise a Special Event Truck.

In addition to the Special Event Truck, live broadcast has enthusiastically utilized ID’s C-Units. These mobile power generation vehicles are also capable of transporting additional equipment – such as the host set, lighting package, sideline dollies and electric utility carts – needed for each event. Both vehicles require only one driver/technician, making them extremely cost-effective in a competitive marketplace.

In addition to managing the everincreasing fleet of trucks and generators, Bob is constantly improving the unique designs of ID’s broadcast vehicles, as well as insuring the performance and reliability of the TwinPack generator systems – paralleling plants that provide uninterrupted power for live television broadcast. His engineering and fabrication talents are enhanced by his high standards of workmanship, maintenance and style. The Illumination Dynamics’ vehicles, bearing the signature blue ARRI Group logos, are impressive sights both on the highway and at the stadium. I Maria Carpenter

33

How The Exit Man Learned To Walk IKK Spot At ARRI

The Kreutz and Partner agency, Dßsseldorf, developed a new campaign for the health insurance provider IKK, featuring a familiar face – the Exit Man. The famous icon and key visual was to play the lead in this new TV spot. Under the auspices of Bernd Kreutz, together with Ernst Kalff of REM Film & Television Production GmbH and Director Werner Kranwetvogel, the specialists at ARRI Film & TV Commercial were able to free the character from its rigid, twodimensional existence and breathe new life into it.

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VISIONARRI

With approximately five million members IKK is among one of the largest German healthcare providers with an aim to continue to increase growth.

In an effort to convince potential customers of IKK services, the company invested in an attention grabbing television commercial campaign. To reach its target audience, a TV spot will run on the main cable networks and the ARD. IKK received strategic and creative support from Kreutz and Partner, Düsseldorf, assisted by the Munich based REM Film & Television Production Company.

A completely digitally produced twenty-five second spot was created, under the direction of Werner Kranwetvogel and with the help of the artists from ARRI Film & TV Commercial.

DIRECTOR

WERNER KRANWETVOGEL and Adam Dukes

Optimal Workflow ARRI provided an AVID for the production of the commercial. In addition, a 3D computer was installed in the suite and an animator was at hand. This way, the animation was directly integrated into the editing process. Werner Kranwetvogel was in the AVID suite most of the time as well in order to view and assess the 3D animation before the actual edit. In this configuration, he was able to decide during the editing session where a camera move or an additional character was missing. At the same time the 3D Artist Adam Dukes was able to immediately implement his directions. Philipp Bartel, Head of Postproduction Commercials at ARRI Film & TV, said ”We have created a work environment for commercial production that guarantees an optimal workflow.”

A New World is Created

Transfer into the Third Dimension Kreutz and Partner put the campaign symbol, the Exit Man, at the heart of the spot. Today the ERCO company holds the copyright to the Exit Man, and all associated figures. As a self-assured and likeable character, he was supposed to act naturally in the commercial. Not an easy task. Because, what Otl Aicher had perfectly designed for the Olympic Games in Munich and what had been developed into a symbol by ERCO during the seventies, proved to be problematic during the first animation steps. The conversion to 3D showed, for example, that the arms and legs of the original icons were of varying length.

“The exceptional aspect of this work really was, to turn the two-dimensional original symbol into a three-dimensional one, so we could breathe life into the Exit Man,” says Rico Reitz, Art Director and Inferno Artist at ARRI Film & TV Commercial. It had to be determined where the arm and leg joints of the character had to be and what the front and the side view would look like. An absolutely binding design feature for the world of the Exit Man was the basic design unit of the figure, the distance between the arm and the upper body. Rico Reitz continued “A lot of things couldn’t be discussed in advance, because they were unforeseeable. Many elements were invented during the actual creation process. Everyone shared their own ideas – and we laughed a lot.”

The creative team recognized how complex this seemingly simple film would be, particularly because it had been decided to work off of the two-dimensional look. Many elements, such as the bus or the wheelchair user, were introduced as the production progressed, and had to be animated as well. “We have invented a completely new world and happened upon many funny details,” Rico Reitz continues. ”For example street lamps or trees, with a dog raising its leg.”

After the scenes were completed, they were dramatized. There, the work of a classical film camera served as a point of reference. Each shot included a subtle camera move, in order to create a more interesting and film-like look.

Later the finishing of the commercial, to harmonize the individual scenes of the film, was, in a time-saving manner, completed on the Flame. At this stage the final touches were put on the individual layers the 3D programs had created, including: colour correction, lightening up or intensifying shadows and atmospherically enhancing the piece through backlighting. Also, the focus was worked on, in order to draw attention to individual characters, for example the protagonist of the spot. Finally, adding film grain gave the desired look the finishing touch.

Rico Reitz raved about working with the team: “First, the idea existed in the head of the Director.

We had the same ideas during the visualisation process. That’s the fantastic part of working directly with the Director, the production company and the agency. This way, we were able to implement many design steps quickly, until the result satisfied everyone.“ Director Werner Kranwetvogel enjoyed this way of working too: “What was a new and wonderful experience for me on this particular project, was that I worked with animated characters the same way I would have worked with actual actors and that I could, and had, to give the ARRI artists directions like I would have on a set shooting a film.

The teamwork was exceptional.“ I www.rapideyemovement.de Martina Valkenburg

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ARRI & the

FOUR SEASONS After successfully collaborating on the production of their first dome film, (a film projected onto a dome shaped screen giving the audience a 360° view, allowing much of the field of vision to be filled with the image), Volkswagen AG, Wolfsburg, Germany, commissioned the Grabarz & Partner Agency for a similar project. Grabarz & Partner brought some experienced associates on board for the production, including film production company swimmingpool pictures and ARRI Digital Film. As was the case with the first dome film, ARRI was responsible for post production and on-set assistance, this time led by Michael Koch.

As the film was to be projected onto the inside of a large dome, it was decided that working on a monitor would not be suitable during colour correction. So, like in feature film post, it would be better to work on a movie theatre screen of the largest possible size with a projector.

The dome at VW in Wolfsburg has a diameter of 49.2 feet with a projection surface of about 1148 square feet. This size specification is easily possible in the Lustre Master Suite at ARRI, Munich, a state-of-the-art colour grading suite with a Barco 100 projector and an 85.28 square feet screen, allowing colour correction to be carried out under movie theatre conditions. In addition, ARRI Film & TV made a mini dome and a projector

36

available, so that the effect of the images could be viewed in advance under the realistic conditions of a dome.

The mini dome measured 6.56 feet and gave the viewer the possibility to get a general impression in advance, which was greatly appreciated by the Director, DoP, agency and client.

The campaign for VW included four films based on Spring, Summer, Autumn and Winter. The scenes for Summer and Autumn were shot in Argentina and Spring and Winter in the Austrian Tirol.

Michael Koch joined the various location scouts during prep as a Consultant.

On the Avid, with the help of the footage shot on DV, the locations were selected and storyboards were created.

During the online edit and the subsequent creation of the four mastering projector streams, the images were custom-made for the dome.

To guarantee the best possible image quality, Vistavision footage was used.

It was scanned on an ARRISCAN as 6K single images. In a Vistavision camera, the film runs horizontally – as is the case in stills photography. Each image has 8 perforations, and is therefore twice as wide as normal 35mm film and therefore has an even higher resolution as the already quite brilliant 35mm image.

VISIONARRI FILMING in the Austrian Tirol and Argentina

DOME THEATRE in Wolfsburg

“There are very few post houses in Germany, or Europe for that matter, that can offer such an integrated workflow with Vistavision – from developing to telecine, to hi-resolution scanning, to the integration of the DI on the Lustre and the VFX, to processing of data from the Vistavision footage – all of that distinguishes ARRI as a highly capable post production house,” says Henning Rädlein, Head of ARRI Digital Film.

Additional unique elements especially created for the production were the camera buggies, on which the Vistavision camera was mounted.

In addition, an 8mm lens was used to create a circular picture on the negative with all compositing work done on the circular picture. Afterwards a texture conversion was completed in Photoshop.

The now rectangular texture was mapped in 3Dmax onto a hemisphere, which was then again filmed by four virtual cameras and thus the streams for

the individual projectors in the VW dome in Wolfsburg was created.

“Within ten weeks our team of five Shake Artists completed the work on the eight minutes of footage. As most of the shots called for bright, clear skies, the majority of the work consisted of sky replacement. In addition, there were lens flares in almost every shot, because of the use of the 8mm lens, which had to be touched up. To ensure that the imagery could be followed from all angles when projected in the dome, split screens had to be created. But the main task was to give the cars a particularly beautiful and realistic look, without making them obtrusive,” says Post Production Producer Philip Hahn.

“The scenes with the 3D animated snow goose, which landed on a frozen lake, were created in collaboration with Pixion, Amit Gupta’s company from Bandra Mumbai, India. All other 3D

animations were created at ARRI in Munich including some scenes at a race track involving horse races with a large number of people, for which crowd replication was used. In addition two multi-layer shots were created,” he continues.

To judge the effect of the images under realistic conditions, individual shots and sequences were screened and approved on location in the dome in Wolfsburg.

The agency, the production company as well as ARRI Colourist Traudl Nicholson and the main Artists, Klaus Wuchta and Michael Koch, attended the screenings.

Only in the dome was it possible to judge the real effect of the final image.

Currently, the finished film Four Seasons is playing in the dome theatre in Wolfsburg as part of the regular daily programme. I Philip Hahn & Jochen Hähnel

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MOMENTS IN TIME DARK PASSAGE Hollywood Debut of the ARRIFLEX 35

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VISIONARRI

The third of four films starring Humphrey Bogart and Lauren Bacall, Dark Passage was released in late 1947, two years after the twenty-year-old Bacall had become Bogart’s fourth wife. Shot partly on location in San Francisco and partly on the Warner lot in LA, this highly stylised ‘film noir’ was directed by Delmer Daves, who had risen from Prop Boy to Actor to Writer and would become best known for directing a string of well received westerns over the next twenty years.

Dark Passage is notable mainly for its use of a dramatic device that is most commonly referred to as subjective camera, a technique whereby action is viewed through the eyes of a particular observer, rather than through the usual objective, impersonal point of view. The film opens with Bogart’s character, Vincent Parry, escaping from prison by concealing himself in one of several barrels on an outbound truck. Having managed to topple the barrel from the moving vehicle and career down a hill without injury, he stumbles into undergrowth without the audience having seen his face. For the next thirty minutes of its running time, the film utilises the subjective camera technique almost exclusively. Actors perform directly into the camera as Parry sets about clearing his name of the murder of his wife, accompanied by a Bogart voice-over.

This and other deceits, such as the appearance of Parry’s hands performing functions immediately in front of the lens, seek to give the impression that we in the audience are seeing precisely what the character is seeing. Only after Parry undergoes plastic surgery to alter his appearance is Bogart’s face finally revealed, from which point the movie adopts a more conventional and objective filming style.

The notion of a subjective camera had been experimented with on various preceding movies. Perhaps the earliest example is in FW Murnau’s 1924 film The Last Laugh, during which the viewer sees through the eyes of several characters, including those of a drunk.

Rouben Mamoulian’s Dr. Jekyll and Mr Hyde, released in 1931, also utilised the device to great effect. It was

Orson Welles, arriving in Hollywood as the “boy genius” of radio and theatre to a fanfare of mixed publicity in 1939, who first considered using subjective camera for an entire film.

“EVERYTHING YOU SEE ON THE SCREEN IS GOING TO BE SEEN THROUGH YOUR EYES, AND YOU’RE SOMEBODY ELSE.” Having signed a contract with RKO that granted him more creative control as a Director than had any other contract in Hollywood’s history, Welles decided that his first film would be an adaptation of Joseph Conrad’s Heart of Darkness. His idea was to present the whole story from the narrator Marlow’s perspective and, just as in his radio broadcasts, he would open the piece by addressing his audience directly: “Everything you see on the screen is going to be seen through your eyes, and you’re somebody else.” In a characteristically unnerving explanatory prologue, the audience would first be shot by a revolver at point blank range in a cage and then led to the electric chair for a second execution, after which a huge eye would appear on the screen next to an equals sign and a capital I. Eye = I. And then the main story would begin.

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MOMENTS IN TIME

ORSON WELLS planning his doomed Heart of Darkness adaptation. ‘Eye = I’

POSTER ARTWORK for Lady in the Lake.

‘You = Robert Montgomery’

Later that same year, Dark Passage arrived on the nation’s screens. Delmer Daves had realized that the choice of camera for point of view shots was of crucial importance. Learning that several ARRIFLEX 35 cameras had been brought back to the USA after having been seized from Germany at the close of the war, Daves acquired one from the US government and had a body-rig built so his cameraman could easily operate whilst moving around. Veteran DoP Sidney Hickox, who had also photographed the two preceding Bogart – Bacall movies, quickly adapted to using the small and portable camera both on set and on location in San Francisco.

Tests were carried out and a great deal of pre-production work undertaken, but it was concluded that the revolutionary camerawork, made extremely difficult by the bulky cameras then in use, would tip the film drastically over budget at a time when the outbreak of war had prompted a general drawing of purse-strings at the studios. Heart of Darkness became the first of many film projects Welles had to abandon.

The idea of a subjective camera movie was resurrected several years later by Robert Montgomery, making his directorial debut with a screen version of Raymond Chandler’s Lady in the Lake, released in January 1947. An Actor-turned-Director like Welles, Montgomery would also play the character whose perspective is that of the camera and who is seen only occasionally, in mirrors. Bizarrely, the character was also named Marlowe – Philip Marlowe, Chandler’s hard-drinking private eye. Publicity for the film pushed the audience participation aspect that had so enthused Welles: ‘YOU accept an invitation to a blonde's apartment. YOU get socked in the jaw by a murder suspect!’ Montgomery even included a Wellesian introductory voice-over: “You’ll see it just as I saw it.

You'll meet the people. You'll find the clues. And maybe you'll solve it quick and maybe you won't.”

A significant proportion of the budget for Lady in the Lake had to be spent on breakaway sets and complicated camera set-ups. “The real challenge was the filming itself,” Montgomery later commented. Studio cameras of the day were huge, unwieldy pieces of equipment, while smaller cameras were mechanically inferior and ergonomically flawed.

As a result, many of the film’s subjective camera moves seem clumsy and unnatural.

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Daves thought carefully about how he would assemble the footage: “I learned that we don’t use our eyes the way film is edited, so instead of direct cutting I dissolved or cut on pans.”

This method of working created much more fluid and natural POV shots than Montgomery had achieved. The compact design of the ARRIFLEX 35 and its reflex viewing system allowed for more intimate and precisely composed images, which gave a polish to the film’s subjective camerawork that Lady in the Lake had lacked.

After 1947 produced the two most cited examples of its use, the subjective camera technique fell from favour. It was taken up by the horror genre as a means by which to hide the identity of murderous protagonists after the influential work of Dario Argento and has been used in various science-fiction films, but only ever for individual shots or short sequences.

Most recently, Brian De Palma brought the device back to film noir by including a subjective camera scene in The Black Dahlia, though such examples are few and far between in contemporary cinema. Unlike the dramatic device for which it was first utilised in Hollywood, the ARRIFLEX 35mm reflex camera went from strength to strength and was used on an ever increasing, indeed a now countless number of films. I Mark Hope-Jones

?

VISIONARRI

Did you Know The Da Vinci Code 2006

Filming at the Louvre in Paris was tightly controlled in order not to disrupt the museum and to protect the priceless works of art it contains. No equipment was allowed inside during opening hours so filming took place at night. As it was strictly forbidden to shine light on the Mona Lisa a replica had to be used instead.

It was also forbidden to use fake blood or anything else on the wooden floors of the museum so some scenes had to be recreated at Pinewood Studios, London.

United 93 2006 The families of the passengers and crew killed on United Flight 93 supported the production, providing Director Paul Greengrass with detailed background information about their loved ones, from the clothes they wore to what reading materials or music they had with them. The cast were then each given studies of their real life counterparts enabling Greengrass to partially improvise some of the events for the film.

Munich 2005 The film was completed and ready for release in less than six months from the start of production. So that the film would be ready for consideration for the Academy Awards, Steven Spielberg and Editor Michael Kahn devised a strict editing schedule. Scenes shot in Malta and Hungary were edited straight away and each day Spielberg would review an edited scene that had been shot two days previously. Scenes shot in Paris and New York were edited two weeks after shooting finished and completed within two weeks. Each edited scene was then supplied twice so that music and sound effects could be both worked on at the same time.

V for Vendetta 2005 The domino scene (where V tips over black and red dominoes to form a giant letter V) involved twenty-two thousand dominoes, was put together by four professional domino assemblers, and took more than a week to set up.

Pride & Prejudice 2005

King Arthur 2004

To begin with, Director Joe Wright was not keen on the idea of Keira Knightley playing Elizabeth as he thought she was too attractive. When they actually met he changed his mind, as he believed her tomboyish attitude would be perfect for the part.

Over four hundred extras were used as Saxon warriors, most had never had any fight training.

Weaponry used included about three hundred swords, seven hundred spears and three hundred axes. During intense action scenes cameras were attached to shields, swords, helmets and spears to get right in amongst the fighting to recreate the realism of battle.

41

CINEMATOGRAPHER STYLE SCREENS AT THE ACADEMY OF MOTION PICTURES ARTS & SCIENCES The art and craft of filmmaking was celebrated at the Academy of Motion Pictures Arts and Sciences’ Samuel Goldwyn theatre Beverly Hills with a special screening of Cinematographer Style for the cast, crew and industry professionals. The 90 minute documentary weaves a collage of commentaries by 110 Cinematographers from 15 countries into a multi-faceted story about the universal art of telling stories with moving images. The event was hosted by ARRI, Kodak and Technicolor.

Take

10 Frank Griebe Director of Photography After completing Perfume – The Story of A Murderer, Frank Griebe worked on Sönke Wortmann’s film Germany – A Summer’s Tale. The latter is the original documentary about the 2006 soccer World Cup in Germany. Frank Griebe lives in Berlin.

Jon Fauer, ASC produced, directed and photographed some 200 hours of dialogues with Cinematographers who work in narrative films for television and the cinema, documentaries, music videos and commercials.

1

All of them were asked why and how they became Cinematographers, who influenced and motivated them, the origins of the “looks” they have created, and whether new technologies and techniques affect their work.

2

The concept for Cinematographer Style originated more than three years ago when ARRI Inc. President Volker Bahnemann suggested that Fauer film interviews with Cinematographers for a ten minute DVD to augment a book he was updating.

3

Which film first inspired you to work in this industry?

Bambi, because it was the first film I watched in a movie theatre.

What’s your cure for the ‘morning after the wrap party’ feeling?

Aspirin and a lot of sleep.

Name three things that make you smile.

Eating (with) Friends (by) the Sea.

4 What was the first car you ever owned?

An orange Renault Fuego.

“Our goal was to take the audience on a journey into the hearts and minds of many of the world’s most gifted Cinematographers,” Fauer says “Most of them were reluctant to be on the other side of the lens but they were all amazingly articulate.”

5

ARRI agreed to provide funding and equipment, Kodak volunteered to supply the film and Technicolor offered lab and telecine services.

Cinematographer Style will eventually be released as a DVD and Fauer plans to use it as a background for a book.

A substantial portion of the profits from the DVD and book sale will be donated to the American Society of Cinematographers education and building fund.

ONE OF THE

6 7 8 9

INTERVIEWEES, Cinematographer Vittorio Storaro

What’s the one thing you can’t live without?

Coffee.

If your life was a film, what film would it be?

Monthy Python’s The Meaning of Life.

Most embarrassing moment?

Having to answer questions in interviews.

Who inspires you?

Friends.

Three people (living or dead), you’d most like to dine with.

Wolfgang Amadeus Mozart, Alfred Hitchcock, Sepp Herberger (Soccer Legend).

10 What was the last film you saw?

Miami Vice.

To find out more go to www.cinematographerstyle.com 42

VISIONARRI

News from around the world High Definition on Expansion Course Ludwig Camera Rental and ARRI Rental Collaborate ARRI Rental Germany have announced their collaboration with Ludwig Camera Rental, specializing in high definition equipment rental, with offices in Munich, Hamburg and Cologne.

The company, founded in 1990, showed great interest early on in HD technology, thereby gathering extensive knowledge and experience. “For years now, we have noticed a rising demand for HD equipment for features and TV productions, but also for live events. We have continuously invested in the latest technology and in doing so have not only become the market leader in rental, but also a competent advisor in the German speaking world,” says Martin Ludwig, Managing Director of the rental house and experienced Director of Photography.

“Both companies have equally high quality standards. The positive image of both companies makes us an ideal partner and service provider to the business,” comments Thomas Loher, Managing Director of ARRI Rental Germany GmbH. “The philosophy of these companies is identical and their outstanding competence is widely recognized.”

The goal of this collaboration is, to service technicians and production needs even more extensively. The clients will deal with one familiar contact person, who can support the entire project from one source.

For a complete range of services offered by Ludwig Camera Rental please visit: www.rental.de.

MARTIN LUDWIG

With this partnership in the HD realm, ARRI Rental completes its extensive range of services. At the same time, Ludwig Camera Rental can take advantage of the competence of ARRI Rental in lighting and stage technology. In addition, Ludwig Camera Rental now has access to the ARRIFLEX D-20 and also the optical spectrum, from Zeiss Digi-Primes from its own supplies and the Master Zoom from ARRI Rental.

43

NEWS FROM AROUND THE WORLD

News from around the world ARRI Commercial Expands the Third Dimension Together with punchin.pictures In the heart of Schwabing in Munich, only a few steps from the ARRI Film & TV/Commercial suites, punchin.pictures has set up its new studio as of August 2006. In close collaboration with the 3D specialist, ARRI has created a highly effective service package for its commercial customers.

Proximity is crucial, when implementing creative ideas promptly and precisely. In the commercial realm in particular, the inventiveness of the agencies has led to an increased demand for 3D animation in order to realize the often complex concepts of commercial spots.

Therefore, creative cooperation is essential.

ARRI Commercial saw an opportunity and brought the 3D specialists from punchin.pictures on board. Now, both companies are delighted about their partnership and their ability to offer the complete range of services for commercial post-production right next door to each other.

Today, the team surrounding Phil Decker consists of five permanent employees. In addition, the studio has a wide ranging network of 3D specialists at its disposal, with expertise in almost all areas of animation. These specialized 3D Artists can be called upon as needed.

Their know-how ranges from architecture, nature, photorealism, animals, characters, cartoons, technical 3D animation all the way to motion graphics and screen design. Their portfolio also includes complex texturizing projects and demanding fluid-animations.

Co-ordination and Customer Service Contact and project supervision are organized through ARRI Film & TV/Commercial. ARRI brings together the art, compositing and 3D team and ensures the progress of a seamless and flexible project. Altogether, the company provides almost all services for commercial post-production.

Creative Exchange ARRI makes a special team available to address demanding design and effects needs and is involved in developing special solutions with the Advertisement Executives. On particular projects, the most advanced technologies and solid experience can be relied upon starting at the conceptual phase.

ARRI commercial, visual effects & 3D Designers are involved and consulted during the initial conversations with clients, resulting in clear communication structures and cost effective finishing of the project.

Punchin Pictures Manager Phil Decker and his punchin.pictures studio have worked in 2D and 3D animation for almost ten years. The company continued to grow over the years and has visualized ideas for clients such as BMW and Toshiba (Flatscreen). Recently the studio, in collaboration with ARRI Commercial, has created spots such as McDonalds (Supersonic, Hello Kitty), IKK (Exit Man) and Cortal Consors (Platz da).

44

Speed In addition, the 3D animation workflow is even faster now. Not only the spatial proximity but also the render farm with its 98 processor units make fast corrections possible and once the high-resolution data has been produced it is also made available for print and all other advertising output. I Martina Valkenburg

THE TEAM at punchin.pictures

ARRI clients have access to the complete range of production equipment and necessary services including: camera rental, lighting and grip departments, lab facility, sound studio, telecine, offline editing, online editing, as well as 3D compositing.

VISIONARRI

News from around the world SchwarzFilm Joins the ARRI Group ARRI Film & TV has acquired SchwarzFilm, thereby continuing to enhance its standing in the national and international markets. The merger with SchwarzFilm, who have offices in Berlin, Ludwigsburg/Stuttgart, Zurich and Bern, will significantly improve the international network and the range of services of ARRI Film & TV, allowing it to keep pace with the rapid change from analog to digital technology as well as the globalization of the film industry.

“In the film industry, Berlin is gaining more and more importance as a business location and so we are delighted, that as a result of our merger with SchwarzFilm, we are now able to offer our clients lab and post production services that reflect the ARRI quality, in addition to camera, light and stage equipment rental through ARRI Rental Berlin,” explains ARRI General Manager Franz Kraus.

Outwardly, the changes due to the merger of the two companies are minimal: “Member of the ARRI Group” will be added to the SchwarzFilm corporate logo, however the company will remain a separate legal entity.

Philipp Tschäppät will continue to serve as General Manager and personnel will not be affected by the changes.

SCHWARZFILM

GENERAL MANAGER PHILIPP TSCHÄPPÄT with ARRI GENERAL MANAGER FRANZ KRAUS

“The merger with the ARRI Group, with its worldwide locations, allows us to offer the entire range of ARRI services.

We’re very excited about this, not only because we are able to significantly increase and improve the scope of services we offer, but also, because we can now assure our clients, that even beyond national borders, we will be able to offer timely, high quality completion of their productions with state-of-the-art technology and with the best price-performance ratio,” explains Philipp Tschäppät.

Both companies will profit from each others strengths, allowing them to provide an even better service to their clients.

“SchwarzFilm, with the equipment in its digital lab service, will primarily assist low budget projects, i.e. 16mm, HD or video shoots and HD post production, while ARRI will service the more demanding national and international productions through its high-end ARRISCAN-LUSTRE-ARRILASER track and the Digital Intermediate (DI). We can optimally combine our range of offered services through this cooperation,” adds Franz Kraus regarding the joint venture. The goal is, to expand the Berlin location. To start up a tape-tape track and in the medium range, to invest in post production sound.

SchwarzFilm will work in close co-operation with ARRI Film & TV Services in Munich which will lead to an optimal availability of the entire range of services of both companies. “This will include the entire digital post production in SD, HD 2K, 4K but also the complete ARRI Rental offering of camera, light and stage equipment rentals. This merger allows us not only to service our clients in Berlin, Ludwigsburg/Stuttgart, Munich, Bern and Zurich, but to assist our customers worldwide through ARRI Rental,” concludes Philipp Tschäppät.

The name SchwarzFilm has stood for quality for more than sixty years. The personnel of both companies are known for their dedication and their belief in their products and their knowledge of the industry. Combined with the state-of-the-art technology the merger will guarantee that clients will receive first rate assistance and the highest quality finish on their projects. I Jochen Hähnel

45

NEWS FROM AROUND THE WORLD

News from around the world ARRI Rental Partner VisionTeam Hungary The VisionTeam is a young Hungarian partnership, which has been created to answer the challenges of the increased demands of the film market. The company aims to keep abreast of the new developments of the film industry by providing the latest technical equipment to domestic and foreign filmmakers.

At present we stock seventeen different kinds of HD, 16mm and 35mm cameras are available to clients, not to mention a full line of lighting and grip equipment. ”I feel that the constant renewal of equipment and the meeting of individual needs is very important. This is the reason why we have purchased unique equipment, by European standards.” explains Gábor Rajna. These include the Revolution Snorkel Lens System, a Photo-Sonic Camera or from our grip department the seventeen metre Galaxy Crane and 3 axial Scorpion Remote Head to name a few. Beside the rental side of the business, VisonTeam pays particular attention to providing a full range of services to Hungarian and foreign clients. They have created an in-house post production studio to serve low budget productions and also a small stage appropriate for shooting smaller scenes and pack shots.

THE STAFF OF

VISIONTEAM together with Thomas Loher (3rd from left), Managing Director of ARRI Rental Germany

“Fifteen years ago, when I bought my first lights, I wouldn’t have dreamt that the company would exceed my most optimistic expectation. My original idea was to build a light and grip equipment stock that would serve my own work.” says Árpád Szirmai Chief Lighting Technician and founder of VisionTeam. “In 2001 my friend and future business partner Gábor Rajna came to me with the idea to expand our range of services with the rental of cameras and camera accessories.

Our growth has been unstoppable ever since and the founding of the new company, the VisionTeam became necessary.”

46

CAMERA PRESENTATION in focus fox studio

The Hungarian success of the VisionTeam is due not only to their purchases, but also to their highly qualified team. They are associated with many Gaffers and Key Grips with their own crews, thus providing not only equipment, but also a complete line of lighting and grip services. Besides, as a member of the ARRI Rental family, VisionTeam has quick and direct access to additional equipment, if necessary.

To celebrate this new partnership with the ARRI Rental Group, VisionTeam organized, together with ARRI Rental Munich, a large scale Workshop and Opening Party in June 2006. They welcomed, together with Thomas Loher (Managing Director ARRI Rental Germany) and Angela Reedwisch (Key Account Manager ARRI Film & TV Services), the prominent Hungarian filmmakers.

“The conception of the Hungarian Movie Act has created favorable financial conditions for the film industry. This has therefore created a tremendous amount of interest from foreign production houses in the Hungarian service and co-production work. Last year several international films were shot in Hungary and many more this year and beyond. We believe that our ARRI Rental Partnership and the modern range of our equipment enable us to take an even larger role in servicing these foreign productions.” says Gábor. “Of course, in the future we are still judging our local market to be important. We feel it is our mission to provide the same quality of service and equipment to the Hungarian filmmakers. We have devised a structure to support local low budget documentaries, short films and film school diploma projects. Our efforts have been so successful that at the 37th Hungarian Movie Festival half of the productions had been made with the active support of the VisionTeam, including the Grand Prize winner film Taxidermia.

Our long-term goal is to create a regional company with its base in Budapest and to serve the entire Eastern European movie making market. The first step towards this goal was to open our subsidiary company in the Serbian Republic.”

VISIONARRI

News from around the world

High-Speed, High-Definition Camera a Winner at World Cup 2006 ARRI Media’s new digital high-speed camera, known as the Hi-Motion, got off to a flying start this summer when Host Broadcast Services (HBS) used the system in their coverage of the 2006 FIFA World Cup™.

Originally intended as an additional innovation to enhance the World Cup viewing experience, it was initially thought by HBS that the camera would be used chiefly for highlights and analysis applications but the super slow-motion sequences proved so dynamic that clips were also utilised extensively during the main coverage of matches.

The camera, developed by NAC Image Technology and exclusively provided in Europe by ARRI Media, is a true high-definition, high-speed system that can integrate directly into a multi-camera broadcast infrastructure.

Capable of shooting at three hundred frames per second with a full HDTV resolution of 1920 x 1080 pixels, the Hi-Motion provides recorded images instantly for playback, without a processing delay. Playback footage is six times slower than regular coverage, revealing detail and movement that would be impossible to see any other way.

Following on from its success at the World Cup, the Hi-Motion continued to deliver tremendously exciting slow-motion throughout the summer, and was used extensivley by Sky Sports for coverage of cricket, rugby and show jumping.

For enquires about the Hi-Motion or Tornado system contact Andy Hayford on +44 1895 457100 or email ahayford@arrimedia.com

Used at twenty-four games throughout the World Cup, from the opening match in Munich to the final in Berlin, the camera’s ability to deliver live-to-air meant that viewers around the world were able to see the dramatic detail of events, such as Michael Owen’s collapse from a knee injury early in England’s 2-2 draw with Sweden, David Beckham’s free-kick goal against Ecuador and Zinedine Zidane’s penalty goal in the opening minutes of the final, within seconds of them actually taking place.

THE HI-MOTION in action at the World Cup 2006

47

NEWS FROM AROUND THE WORLD

News from around the world Ready to Roll ARRI Focus Develops New ‘Distribution Rack’ ARRI Focus, a subsidiary of ARRI Lighting Rental, devoted specifically to servicing the commercial, music video and short-term lighting rental markets in the UK has developed a new Distribution Rack to compliment the successful Roll-A-Rack system.

The rack, aptly named the Distribution Rack, takes it one step further by combining various high density distribution units into one bespoke rack, enabling not only the lighting equipment to be rapidly off loaded and deployed but a complete distribution system as well – just add power!

Once on location, the Distribution Rack is simply wheeled into position to become a central control point, potentially feeding the entire set via a combination of conventional and multi-core cables.

The system design and power configuration was developed by Ricky Miller, Technical Director of ARRI Focus, in conjunction with Mike Ohara of ALR and several freelance Gaffers, as such, all concerned are confident that they have created a versatile distribution system which will be welcomed by Gaffers and Technicians, saving rigging and installation time and money for production.

Each Distribution Rack is capable of controlling 1200amps, or 275kW of lighting.

Power input is via 400amp 3 Phase .2 cable

150amp .1 single phase 63amp three phase 63amp single phase 32amp multicore (3 x 32amp) 32amp single phase.

16amp socapex (6 x 16amp) 16amp single phase Additional features include: Switchable RCD protection Digital amp meters for load indication / phase balancing Shut-down isolator 400amp through connectors, for daisy chaining additional racks Power input & output indicators

The Distribution Rack, compatible with Roll-A-Rack can of course be used with any range of equipment from ARRI Focus and ARRI Lighting Rental as demand increases.

With the introduction of this versatile rack there are plans to develop even more options in the near future.

For more information, including detailed configuration options and rental charges email: info@arrifocus.com SWITCH CONTROL OUTLET SOCKETS

As each Distribution Rack consists of various modular units, Gaffers can specify exactly how each rack is pre-configured, prior to despatch from the lighting stores.

Power out connectors can be configured to include any of the following:

48

VISIONARRI

News from around the world

ARRI CSC Announces New Location for New York Lighting & Grip Department In addition to its extensive film and digital camera rental fleet, ARRI CSC operates one of the largest lighting and grip departments on the East Coast.

After forty years on the West Side of Manhattan, lighting & grip is being relocated to a spacious new facility in nearby Secaucus, New Jersey.

ARRI CSC’s New York camera department and administration will remain at 619 W54th Street, New York.

Reflecting on this exciting new development, forty years after he introduced lighting and grip to the company, Vice President of Operations Hardwrick Johnson commented “The potential of this new facility is truly amazing, and will ensure that ARRI CSC can continue to offer the level of service and support for which we are renowned.”

For further information about the products and services available from ARRI CSC, visit www.cameraservice.com

In order to better serve its feature film, television, commercial and music video clients ARRI CSC is now able to provide a facility unlike any other. Housed in over 55,000 square feet of modern, industrial warehousing, fifteen minutes from Manhattan, the building provides ample parking for trucks, vans and cars, five loading docks, meeting rooms, a fully stocked expendables sales outlet and twenty-four hour security.

49

NEWS FROM AROUND THE WORLD

News from around the world NAC Rental Become ARRI Rental Group Associate The ARRI Rental Group are delighted to announce that NAC Rental, Japan have been appointed an official ARRI Rental Group Associate, the first associate in Asia.

NAC Rental, a division of NAC Image Technology has been involved in the hire of camera equipment since 1976 providing the film and television industry with an array of products including many manufactured by ARRI. 2003 saw the addition of a digital camera department giving their clients further state-of-the-art options in image capture.

NAC Image Technology, were responsible for the development of the Hi-Motion HDTV high-speed camera.

The collaboration between the ARRI Rental Group and NAC led to the Hi-Motion swiftly becoming popular at international key sporting events, for example; the 2006 World Cup in Germany.

MR. SHINDOME, NAC Rental Manager (left) and his team

Renos Louka, Head of Rental comments “We have had a successful association with NAC Image Technology for many years and so it made good sense to appoint their rental division as an associate. Their service and support reflect the same values as those of the ARRI Rental Companies, partners and associates and this collaboration will help to further increase the international rental network providing productions with cutting edge technology.”

NAC Rental Manager, Mr. Shindome agrees “NAC Rental is committed to the film and television industry and has concentrated on expanding the rental division in the last five years. We are now in an ideal position to serve the industry and are pleased to take a further step by becoming an official member of the ARRI Rental Group This association will enable our clients in Japan to experience the professional service and support that the ARRI Rental Group provides worldwide.”

50

VISIONARRI

PRODUCT

UPDATE ARRI Studio Ceramic 500 ARRI Lighting expands the Ceramic range with the introduction of the new Studio Ceramic 500. After initial success of the ARRI X Ceramic 250 and the Studio Ceramic 250, ARRI complements the Ceramic range for ‘cool’ studio solutions.

The 500W Ceramic power class offers a true 3200K energy efficient equivalent for a 2kW tungsten Fresnel spotlight. The ARRI X Ceramic 250 and the ARRI Studio Ceramic 250 have already proved worthy substitutes for respectively conventional 2kW softlights and 1kW tungsten Fresnel spotlights.

All ARRI Ceramic fixtures feature cooler housing temperature, lower power consumption, longer lamp lifetime, ‘hot’ restrike, colour rendering index > 90, and built-in igniter and ballast.

The ARRI Ceramic trio plays in a league of its own regarding efficiency and low maintenance solutions.

AT A GLANCE 500W / 90–265VAC 50/60Hz 3200K / CRI>90 with CST 500 HR 1000hrs lamp lifetime, CST 500 HR 45000lm, 90lm/W, CST 500 HR Hot restrike Built-in ballast Flicker free (130Hz) Benefits Maintenance, running costs, air conditioning, wiring, transport, generators Lower thermal stress to performers Longer lifetime for colour gels Versions

Manual Pole operation

Surface temperature comparison, ARRI 2000 versus ARRI Studio Ceramic 500 (prototype)

51

PRODUCT UPDATE

Auto-Iris Heated Eyecup HE-5 With the Auto-Iris Heated Eyecup HE-5 a low powered infrared sensor detects the presence of the operator, automatically closing the eyecup when the operator is not present. The distance the operator has to move away from the eyecup before the system activates can be adjusted. The mechanism can be switched to OPEN, AUTO (eyecup closes when operator moves away) or CLOSE. When unplugged, the system remains in its current state. While closed and without power, it can also be opened manually.

The HE-5 fits all ARRIFLEX and ARRICAM cameras, as the connector housing can be rotated, allowing it to be easily mounted on all cameras in all positions.

A re-designed sliding lock ensures the HE-5 stays securely on the eyepiece.

Heating options are OFF, HI (constant heating with maximum power) and LO (constant heating with reduced power).

Lightweight Follow Focus LFF-1 and Large Knob Designed for small, lightweight cameras like the ARRIFLEX 235 and ARRICAM Lite the Lightweight Follow Focus LFF-1 is a compact, modular follow focus for hand held use.

A simple but flexible design means its swing arm can be rotated a full 360° and the drive direction can be quickly reversed by flipping the unit over, allowing the LFF-1 to be used above or below the lens, on the camera right or left, with the preferred drive direction of the assistant.

The LFF-1 now also has a studio style knob. This new focus knob matches the size of standard ARRI studio follow focus knobs and is compatible with standard studio follow focus marking discs, while retaining the LFF-1’s anti-backlash couplings.

MB-20 Compact Matte Box A flexible and compact, wide-angle matte box for both film and digital cameras. The MB-20 allows more mounting options, attaching to standard rods, lightweight rods or directly to the lens. It accommodates a wider range of filter sizes and its modular construction offers a minimum of two rotating filter stages. The MB-20 is compatible with more lenses than other compact matte boxes, including HD zooms, HD primes, small cine zooms and most cine primes.

FACTS One matte box for both film and digital applications Multi-purpose use, attaches to standard or lightweight rods, or clips directly to the lens All filter stages rotate Offers use of top, side and bottom flags simultaneously

52

VISIONARRI

Master Diopters Diopters offer a convenient and inexpensive method of grabbing a close-up beyond the close focus range of a lens, but the poor quality of traditional single lens diopters has prevented them from being used.

A new set of ARRI/Zeiss diopters, the Master Diopters, now offer considerably better optical quality and handling, allowing you to quickly grab an extreme close-up or get a wide angle shot with shallow depth-of-field without sacrificing image quality.

Master Prime 100 without Diopter

Master Prime 100 with Master Diopter + 0.5

Master Prime 100 with Master Diopter + 1

Master Prime 100 with Master Diopter + 2

Master Prime 100 with Master Diopter +1 and + 2

The ARRI/Zeiss Master Diopters are a set of three high quality diopters (+0.5, +1 and +2) that are optically matched to the Master Primes and, because of their quality, can also be used with the Ultra Primes, Ultra 16 lenses, the Lightweight Zoom LWZ-1 and others. A carefully crafted optical design ensures a high resolution, high contrast image that retains its quality all the way to the frame edges, while the Zeiss T* anti-reflection coating reduces flares and other internal reflections. The +1 and +2 diopters use achromatic lens elements that minimize colour fringing and spherical aberration to ensure the highest optical performance.

Handling is easy as the Master Diopters use a self-centring clamping mechanism that allows them to be quickly attached to, removed from or stacked onto the front of a lens, while at the same time keeping the diopters perfectly centred and parallel to the taking lens. Reduction rings for different lens front diameters snap into the rear of the diopters.

FACTS Three diopters (+0.5, +1, +2) for close-ups beyond the close focus of a lens Superior image quality through achromatic elements and the Zeiss T* coating Optically matched to the Master Primes, but can also be used on other lenses Provide a better match to prime lenses compared to macro lenses Clamp-on mechanism ensures quick and easy use, and precise fit New creative possibilities, close ups at T1.3, wide shots with shallow depth-of-field

53

PRODUCTION UPDATE

ARRI RENTAL Project Name

Production Company

Director

Afrika, mon amour Moovie the art of entertainment Carlo Rola Perfume - The Story Constantin Filmproduktion Of A Murderer

Tom Tykwer

Der russische Geliebte Die wilden Hühner und die Liebe Ein Paradies für Pferde Eine Stadt wird erpresst Herr Bello

ndF

Ulrich Stark

Bavaria Film

Vivian Naefe

Degn Film

Peter Weissflog

TV60Film

Dominik Graf

collina Filmproduktion

Ben Verbong

Ich sehe was, was Ostlighting Filmproduktion Du nicht siehst...

Kommissarin Lukas Olga Film VI+VII Nativity The Northern Progress Company Ltd. Prinz Eduoard, Max X Filme Minsky und ich Rennschwein Rudi Relevant Film Rüssel 2 Tango, Tango Roxy Film Spring Break in Bosnia 4 gewinnt

Hagen Keller Thomas Berger Catherine Hardwicke Anna Justice

DoP

Equipment

Frank Küpper

ARRIFLEX D-20, 435, Master Primes, Master Zoom, Angenieux Optimo, lighting, grip Frank Griebe ARRICAM Studio & Lite, 435, 235, Master Primes, Master Zoom, Ultra Primes, Highspeed lenses T1,3, 3-Perforation, lighting, grip Peter von Haller Arriflex 416, Zeiss Ultra 16, Ultra Primes, lighting, grip Peter Döttling ARRICAM ST/LT, Ultra Primes, Angenieux Optimo, 3-Perforation Lothar E. Stickelbrucks ARRIFLEX 416 Zeiss Standard T2, 1, div. Canon Zoom Alexander Fischerkoesen ARRIFLEX 16SR3, Zeiss Highspeed 1,3, div. Canon Zoom, lighting, grip Jan Fehse ARRICAM ST/LT, Master Primes, 3-Perforation, lighting, grip Philipp Kirsamer ARRIFLEX 16SR3, Ultra Primes lighting, grip Torsten Breuer ARRIFLEX 416, Zeiss Highspeed T1,3, Zeiss Standard T2,1, lighting, grip Elliott Davis lighting, grip

Peter Timm

Ngo the Chau Angenieux Optimo Achim Poulheim

Thomas Kronthaler

Christoph Chassée

SBIB Productions

Richard Shepard

David Tattersall

SamFilm

Joachim Masannek

Benjamin Dernbecher

BSC

ARRICAM ST/LT, 435, Ultra Primes, 3-Perforation, lighting, grip ARRICAM ST/LT, 435, Ultra Primes, Zeiss Zoom VP1-3, 3-Perforation ARRIFLEX 416, Ultra Primes, Ultra 16, lighting, grip ARRICAM ST/LT, 435, 235, Ultra Primes, Angenieux Optimo, lighting, grip ARRICAM ST/LT, 435, 235, Ultra Primes, Angenieux Optimo, 3-Perforation

ARRI MEDIA Title

Production Company

Director

DoP

Equipment

The Bourne Ultimatum

Universal

Paul Greengrass

Oliver Wood

Fred Claus

Warner Bros.

David Dobkin

Remi Adefarasin

When Did You Last See Your Father A Mighty Heart Silent Witness Mr. Polly Instinct Mrs. Ratcliffe’s Revolution

Number 9 Films/Film Four

Anand Tucker

Howard Atherton

ARRICAM Sudio & Lite & 235 & Cooke S4 ARRICAM Studio & Lite & Zeiss Ultras Moviecam & Hawks V Series

Paramount/Plan B BBC Television ITV Wales Tightrope North Assasin Films

Michael Winterbottom Various Gillies MacKinnon Terry McDonough Billie Eltringham

Marcel Zyskind Kevin Rowley BSC Nigel Willoughby Ben Smithard Sean Bobbit BSC

28 Weeks Later

DNA

Juan Carlos Fresnadillo Enrique Chediak

Hyperdrive B Run Fat Boy, Run

BBC Television Gold Circle Films

John Henderson David Schwimmer

BSC BSC

John Ignatius Richard Greatrex BSC

Sony 750P HD ARRIFLEX D-20 SR3A & Zeiss SR3A & Zeiss Ultras ARRICAM Lite & SR3A & Zeiss Ultras ARRICAM Lite & SR3A & Zeiss Ultras SR3A & Cooke S4 ARRICAM Studio & Lite & Cooke S4

ARRI AUSTRALIA Project Name

Production Company

Director

DoP

Equipment

Ford

Goodoil

Matt Murphy

Susan Stitt

AAMI

Plush

Fosters - Flashbeer

Plaza Films

Paul Middleditch

Andrew Lesnie

Vodafone Jetstar

Engine Flinders Lane Productions

Calvin Gardiner Danny Ruhlmann

McLeods Daughters

Millennium Television P/L

Calvin Gardiner Ted Horton/ Chris Dewey Various

Amanda Baker Toyota Fox Sports ANZ Free TV Goodoil - Toyota 17-80 Optimo The Kite Runner

Denson Baker Japco Goodoil Plaza Films Plaza Films CameraTech

Denson Baker unknown Matt Murphy Paul Middleditch Jon Gwyther Matt Murphy

Denson Baker Allan Koppe Susan Stitt David Gribble Daniel Ardilley Greig Fraser

ARRIFLEX 435 Xtreme, Ultra Primes, 24-290 Optimo, ARRIFLEX 435 Advanced, Ultra Primes, 17-80 Optimo ARRICAM Lite, ARRIFLEX 435 Advanced, Ultra Primes,17-80 Optimo, 24-290 Optimo 235, Macros ARRICAM Studio, Master Primes & Ultra Primes, ARRIFLEX 16SR3, Super Speeds, 11-165 Canon Ultra Primes ARRIFLEX 435 Advanced, Cooke S4 ARRICAM Studio, Ultra Primes ARRICAM Lite, Ultra Primes, 25:250 HR ARRICAM Lite, ARRILFEX 435 Advanced, Cooke S4,

Dreamworks Productions LLC Marc Forster

Roberto Schaeffer

UNIFEM - Dom Violence

Goodoil Films

Matt Murphy

Susan Stitt

The Tattooist

CameraTech

Peter Burger

Leon Narbey

54

Andrew Lesnie

Various

ARRICAM Lite, ARRICAM Studio, 235, Master Primes, 17-80 Optimo, 24-290 Optimo, 15.5-45 Lightweight Zoom, 150-450 Hawk Zoom ARRILFEX 235, Ultra Primes, 200mm, 300mm Ultra Primes & ARRICAM Studio Dailies

VISIONARRI

ARRI LIGHTING RENTAL Title

Production Company Director

28 Weeks Later The Other Boleyn Girl Eastern Promises Strength and Honour

DNA Boleyn Productions Ltd. Focus Features Strength And Honour Productions Ltd. The History of Mr Polly ITV Wales This Life (10 Years On) This Life Productions Ltd. Miss Marple (Nemesis) LWT Hyperdrive BBC Suburban Shootout Feelgood Fiction Ltd. Mansfield Park Company Pictures Cape Wrath Eccosse Films Supernatural (Empathy) Carnival Film & Theatre Trial of Tony Blair Mentorn

DoP

Gaffer

Rigging Gaffer

Juan Carlos Fresnadillo Justin Chadwick David Cronenberg Mark Mahon

Enrique Chediak Keiran McGuigan Peter Suschitzky BSC Alan Almond BSC

Alex Scott Mark Clayton John Colley Steve Swannell

Paul Murphy Ian Franklin Vince Madden

Giles Mackinnon Joe Ahearne Nicolas Winding Refn John Henderson Gordon Anderson Ian B MacDonald Duane Clark David Richards Simon Cellan Jones

Nigel Willoughby Peter Greenhalgh BSC Larry Smith John Ignatius Ian Liggitt Nick Dance John Daly BSC Andrew Speller David Katznelson

Kevin Day Pat Miller Phil Penfold Larry Park Pat Miller/Paul Brown Joe Allen Darren Harvey Tom Gates Dan Fontaine Otto Stenov/Warren Ewen

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURES Title

Production Company

Director

DoP

4 gewinnt

SamFilm

Joachim Masannek

Benjamin Dernbecher

Services

Die Augen meiner Mutter Erik Nietzsche Herr Bello

d.i.e. film Zentropa Productions collina Filmproduktion

Nuran D. Calis Jacob Thuesen Ben Verbong

Mylana Prinz Eduoard, Max Minsky und ich Sieben Zwerge Der Wald ist nicht genug Sommer 69

Dedo Weigert Film X Filme

Roman Shyrman Anna Justice

Kopierwerk, 2K DI, TV Mastering, Sound Helmut Pirnat Kopierwerk Sebastian Makker Blenkor Kopierwerk Jan Fehse Kopierwerk, 2K DI, VFX, TV Mastering, Sound Eduard Timlin Kopierwerk, Scan&Record Ngo the Chau Kopierwerk, TV Mastering

Zipfelmützen Film

Sven Unterwaldt

Peter von Haller

Constantin Film

Marc Rothemund

Martin Langer

Spring Break in Bosnia Ulzhan Weißt was geil wär

SBIB Productions Volksfilm SamFilm

Richard Shepard Volker Schlöndorff Mike Marzuk

David Tattersall Tom Fährmann Ian Blumers

BSC

Kopierwerk, 2K DI, VFX, TV Mastering Kopierwerk, 2K DI, TV Mastering, Sound Kopierwerk Kopierwerk, 2K DI Kopierwerk, HD-DI, TV Mastering, Sound

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALS Client

Title

Filmproduction Company

Agency

Ferrero Stabilo

Garden Schriftbild

e+p commercial First Frame

ING DiBa Saturn Cortal Consors

Markenfilm Sieben Platz da

Helliventures

HP Albrecht Söhnke Wortmann Serviceplan Vierte Norman Hafezi Werbeagentur Wüschner Rower Baier Joachim Hellinger redblue Marketing Serviceplan Zweite Werbeagentur Reiner Holzemer Lissner Rappel Marc & Mike Werbeagentur Advico Young & Nic & Sune Rubicam (Zürich) Advico Young & Stefane Coito Rubicam (Zürich)

Playmobil Sommer 2006 Bayerischer Rundfunk Bayern 1

e+p commercial Frist Frame

Zweifel Chips

GAP Films

Eskimo & Massage

BFB Landliebe Hipp KFH Bank

GAP Films Landliebe Babysanft Help Campaign

e+p Hager Moss Commercial Gulf Media

Serviceplan

Director

Shizue

DoP Britta Mangold Bernd Wondolek Dieter Deventer

Peter Aichholzer Kristian Leschner Richard Mott Pascal Wegner Erwan Elies

ARRI CSC Project Name

Production Company

DoP

Gaffer

Equipment

Serviced by

American Gangster Be Kind, Rewind Blueberry Nights

Universal Junkyard Productions 66 Degrees Prod. LLC

Harris Savides Ellen Kuras Darius Khondji

Bill O’Leary John Nadeau Gene Engels

ARRI CSC NY ARRI CSC NY ARRI CSC NY

Dark Streets One Missed Call Reggaeton Rock Star, Supernova

Capture Film International Missed Call Prod. Inc. Ellen Gordon Prod.

VX for CBS

Step Show

Gotta Step Prod. Inc.

Sharone Meir Russ Griffith Glen MacPherson Zoran Popovic Evin Lowe Jay Hunter Oscar Dominguez David Charles Sullivan Scott Kevan

ARRICAM Studio & Lite ARRICAM Studio ARRICAM Studio & Lite Master Primes Lighting ARRICAM Studio & Lite ARRICAM Studio & Lite Automated & conventional lighting ARRICAM Studio & Lite 3 Perforation

Untold Stories of the ER GRB Entertainment

Yoram Astrakhan

Jeff Conrad

Illumination Dynamics ARRI CSC FL ARRI CSC FL Illumination Dynamics ARRI CSC FL Lighting & Grip Illumination Dynamics

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.

55

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