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A R R I F L E X 4 3 5 M O C O

W R C - 1

A R R I M O T I O N

L O C P R O 3 5

I s s u e 0 9 / 2 0 0 0

A R R I C A M S T U D I O + L I T E

0 4 A R R I C A M S T U D I O + L I T E

0 8 A R R I F L E X 4 3 5 M O C O

0 9 W R C - 1 Wireless Remote Control

1 0 A R R I M O T I O N The Intelligent Self-learning Motion Control System

1 2 A R R I R a m p P r e v i e w C o n t r o l l e r

I M A G E R X E

1 3 A R R I L A S E R 2 0 0 0

1 4 L i f e i s a B e a c h With the ARRI LOCPRO 35 on Location

1 5 A R R I I t a l i aJ o i n t - Ve n t u r e w i t h A Q U E S T

1 6 A R R I F L E X C a m e r a s a n d L C C Ta k e - o f f

C O N T E N T S

1 7 Ta k e a Wa l k o n t h e W i l d S i d e

1 8 B r o a d w a y ’s B r i g h t e s t L i g h t s

2 0 T h e I n t e r n a t i o n a l F i l m - & V i d e o - Wo r k s h o p s

2 2 C r e s c e n d o i n C o l o u r

2 3 W i l d s c r e e n 2 0 0 0

A R R I - L i g h t s t a k e A u s t r a l i a s h o p p i n g

2 4 Ve n u s B e a u t é An interview with Gérard de Battista

2 5 T h e U l t r a P r i m e s i n F r a n c e

2 6 T h e P a t r i o t

2 9 T h e L o r d o f t h e R i n g s

3 0 7 2 0 ° – G e r m a n y r i g h t i n t h e M i d d l e !

3 4 M y s t e r y o f N a t u r eSouth Sea Pearls

3 7 A c t i o n C o n c e p t

3 8 M a x We l z – h i s D o u b l e A n n i v e r s a r y

M a d a m e C a i a n d M i s t e r L i

3 9 W i l l i a m F. W h i t e L t d .

4 0 C u r r e n t l y S e r v i c e d P r o d u c t i o n s

With the ARRICAM Studio and the ARRICAM Lite, ARRI introduces an innovative and

modular 35 mm camera system which combines maximum operating comfort with

dependable ARRI precision and reliability. Both cameras offer easy and flexible configuration

for any operating situation. All basic functions as well as an electronically adjustable

mirror shutter are available. Expanded function modules with innovative possibilities are

fully integrated in the streamlined design of the camera bodies. For the first time,

a lens control system has been integrated into the camera body that reads and controls all

data of the lens. An ultrasonic measuring tape guarantees faster and more precise

operation. The in-camera slate function marks each take legibly and provides economical

advantages in post production and reduced use of film stock …

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A R R I C A M

Innovative – Modular – Functional: The System

Studio + Lite

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The ARRICAM Studio is distinguished byits low noise level and many advanced features.

The ARRICAM Lite is particularly useful whenlow weight, small camera size and operatingfreedom are required – i.e. remote, steadi-cam or shoulder operation.

Together, these cameras represent a perfectlycoordinated system that provides an unprec-edented level of functionality and economicviability.

LDS – Lens Data SystemA completely new development are the Ultra Prime lenses with integrated contact-free sensors. Via an electrical interface inthe PL -mount, these sensors transmit the actual set values of focus, zoom and iris to the camera.

With a quick-lock mechanism, the LDS boxperfectly fits into the camera design. Thisbox reads all the lens data and makes itavailable for other external systems, suchas the LDS display, motion control or lenscontrol systems, which in turn can remote-ly control the lens via cable or wireless. Time consuming cabling is considerably reduced.

A large variety of functions is provided:The LDS system, using the lens’ iris and focus distance readings, calculates the actual depth of field and shows the datagraphically on a separate display. Focusand other marks can be set and hit with utmost precision.

It is no longer necessary to calibrate theindividual T-stops of the lens externally. Thisis a real time saver and increases the reliabil-

ity i.e. when speed ramps are compensatedwith the iris of the lens. Speed data for aramp must only be entered into the cameraspeed box – the LDS box finds the corre-sponding iris settings automatically.

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UTM Ultrasonic Tape Measure – a Virtual Measure TapeWith the push of a button it is possible tomeasure the distance between a handunit and the camera: a great advantagewhen working on complex set-ups wheremeasuring tapes pulled across the setcan cause major problems, or when thecamera is mounted on a crane. With theUTM, the measured distance is storedand indicated on the LDS display. If re-quired, the measured distance can alsobe transmitted and set on the lens directly– just one example of the perfect systemintegration.

Modular Finder SystemBoth viewfinders – the Studio as well as theAction finder – are compatible and can beused on the ARRICAM Studio and the ARRICAM Lite. The bright Studio finderwith its unprecedented image quality iscomplemented by the lightweight Action find-er. Both systems offer maximum flexibilitywith their swing-over design.

For the Studio finder one short as well as twolong finder extensions are available: one witha 2∞ zoom, and one with a flip-in anamorphicde-squeezer. Illuminated frame line modulescomplete the ARRICAM models: commonly

used formats are immediately available viaLCD matrix. When special formats are re-quired, an illuminated frame line modulewith format masks is also available.

Film Transport SystemThe newly designed, 5-link movement with dual-pin registration and dual tran-sport claws guarantees optimum imagesteadiness as well as an ultra-quiet filmtransport. A three-perforation movementis optionally available for both camera versions. Crystal controlled frame rates of1 to 60 frames per second forward for theARRICAM Studio and 1 to 40 fps forward

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for the ARRICAM Lite can be set as required.In reverse run frame rates of up to 32 fps areavailable for both camera versions with theStudio magazine.

MagazinesNewly developed, lightweight carbon fibremagazines complete the design of the ARRI -CAM camera system. A 400 ft. as well asa 1000 ft. magazine can be attached to theARRICAM Studio in top- and rear-load positions allowing a flexible adaptation toapplication requirements. With a magazineadapter the ARRICAM Studio magazinescan also be used on the ARRICAM Lite inrear load position.

For steadicam- and shoulder operation,two 400 ft. active displacement magazinesin compact design have been developedexclusively for the ARRICAM Lite.

Video AssistA high speed, high-resolution ¹⁄₂ " video cam-era and a specially designed video optic mo-dule with an aperture off 1.2 provide an ex-tremely high quality video image. Even underlow light conditions, editing-quality is achieved.Easy operation and compact design – alreadyknown from the ARRIFLEX 435 and 535B –have been further improved. The new fea-tures of the ARRICAM Video Assist are:• Improved operating comfort for the on-

screen menu with a one-button controland additional setting of the most impor-tant operating parameters with separatekeys. All adjustments can be stored andlater recalled;

• Manual white balance in addition to thestandard indoor, outdoor and automaticwhite balance settings;

• To match the film’s motion blur, the expo-sure time of the video image can be match-ed to the film image exposure;

• Improved vertical video resolution duringcamera run;

• External video signal synchronizes of thefilm camera via the Genlock socket of thevideo assist;

• Remote control functions of all video as-sist adjustments;

• Expanded camera status display including all lens data information.

In-camera Slate and advanced Time Code DisplayThe advantages of the manual film slatehave now been directly integrated into the ARRICAM system and combined with time code.

At the beginning of each take, the cam-era exposes all slate information togetherwith the time code as a man-readable text within the film frame. These in-cameraslates can be used in post production inthe same way as conventional slates:

the editor can read and use the slate andtime code information without additionaltools. This way, it is now possible to workwith a time stamp at any filming speed,since the in-camera slate system alwaysguarantees clear identification.Automatic reading of in-camera slate in-formation in the electronic post-production

Technical Data

ARRICAM STUDIO ARRICAM LITE

Film format 35 mm DIN 15501 35 mm DIN 15501

Lens mount 54 mm PL 54 mm PLadjustable for Super 35 Format

Flange focal distance 51.98 – 0.01 51.98 – 0.01

Lens contacts for LDS lenses ∞ ∞

Forward run 1-60 fps 1-40 fps

Reverse run 1-32 fps 1-32 fpswith studio magazines

Noise level below 20 db/A below 24 db/A

Temperature range – 10° to + 40° C – 10° to + 40° C14° to 104° F 14° to 104° F

Mirror reflex shutter 11.2° to 180° 11.2° to 180°electronically adjustable while camera is running

Power supply 24 V DC to 32 V DC 24 V DC to 32 V DC

Weight:Camera body with finder 8.25 kg / 18.19 lbs. 5.25 kg / 11.57 lbs.

300 m /1000 ft. studio magazine 5.2 kg /11.46 lbs. 5.2 kg /11.46 lbs.

120 m/400 ft. studio magazine 3.5 kg / 7.72 lbs. 3.5 kg / 7.72 lbs.

120 m /400 ft. shoulder magazine LITE 2.4 kg / 5.73 lbs. 2.4 kg / 5.73 lbs

120 m /400 ft. shoulder magazine LITE 2.5 kg / 5.51 lbs. 2.5 kg / 5.51 lbs.

process is also possible with a separate rea-der. The resulting take-list can be directly trans-ferred to non-linear editing sytems. The timecode information can also be used for synchingaudio.The advantages are obvious:• the in-camera slate is always on the film and

always clearly readable;• usage of film material is reduced since the

in-camera slate records only onto a fewframes;

• post-production is possible without additionaltools since the in-camera slate works almost like a conventional slate;

• in video post-production, an automatic take-list can be created with the help of an auto-matic slate reader. There is no longer theneed to log the data while transferring thefilm to video.

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ARRIFLEX 435 M O C O

The Motion Control Interface (MCI-1) offersthe following functions:• step and direction• CAN-Bus• ARRIMOTIONThe ARRIFLEX 435 MOCO operates inthree different modes:1 The shutter angle is adjusted on the cam-

era; mirror shutter and movement remainin-sync and are controlled externally.

2 Control of shutter angle by Motion Con-trol System; mirror shutter and movementremain in-sync and are controlled ex-ternally.

3 Independent control of mirror shutter, movement and shutter angle by the mo-tion control system.

The new ARRIFLEX 435 MOCO is the result of continuing development

efforts to adapt ARRI’s popular MOS camera to motion control systems.

Together with the new ARRIMOTION system, it allows camera and lenses

to be used in the familiar fashion, but adds the feature of being able

to repeat these moves at any speed. The ARRIFLEX 435 MOCO utilizes

all the possibilities of the existing modular camera system but

incorporates a completely new electronic design, a modified mirror shutter

drive and an interface for external motion control systems.

Further outstanding features of the ARRIFLEX435 MOCO:• The new and more efficient mirror shutter

drive can execute ramps 2.5 times fasterthen before. This considerably reducesthe ramps’ screentime.

• Minimum speed of 0.1 fps.• Control of single frame operation through

Motion Control Systems.• Run-up time is adjustable in three steps

to reduce power consumption while thecamera ramps up.

• The ARRIFLEX 435 MOCO is equippedwith LDS contacts for compatibility with theLDS lenses of the ARRICAM system.

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With the new WRC-1 (Wireless RemoteControl) ARRI completes its wireless lenscontrol system, offering complete control ofall camera parameters without cumbersomecable connections between the hand controlunits and the camera. The WRC-1 allowscontrol of camera speed, shutter angle andlens iris. Its special strength are the manypossibilities of combining and compensatingparameters to keep exposure constant. Pre-programmed iris scales and an instant irisopen function (Zap-button) for the quickcheck of the finder image add to the func-tionality of the system.

With a large hand wheel, all values can beaccurately adjusted. Alternatively automati-cally controlled ramp functions are pre-pro-grammable and can be repeated by simplypushing a button. The various adjustment func-tions can be combined individually. Only oneof the effects the WRC-1 offers in a conven-ient way is a change of depth of field withouta visible exposure difference. When changing

Everything under control

the lens iris at a constant camera speed, theresulting exposure difference is automat-ically compensated with the mirror shutter.In the past this effect was very difficult toachieve and the results were less accurate.

With the WRC -1 the user simply selects amaster value to be adjusted – either lensiris, mirror shutter or camera speed – and acompensation method as required. Unlikethe RCU-1, exposure differences of morethan four stops can now be compensated.Of course, it is also possible to set up se-quences for special exposure changes inuser mode. Maximum flexibility, modular integration into the existing system and aneasy-to-use design were the goals of thisconcept.

WRC-1W i r e l e s s R e m o t e C o n t r o l

ARRI`s main intention was to develop an easy-to-operate, user-friendly

motion control system which allows the director and camera operator

to create and execute perfect, high quality visual effects shots without the

need of highly specialized equipment and complicated set-ups.

The system – based on an ARRIHEAD – covers most motion control applica-

tions and is as easy to operate, as a tape recorder.

The Intelligent Self-learning Motion Control System

The ARRIMOTION Modules: Handle, CCB-1, MCB-1,LCB-1, Handle

ARRIMOTION - An Intelligent System thatlearns the MoveARRIMOTION finally gives the directorand the DoP the freedom to work withoutpre-programmed sequences. Since the cam-era operates as it normally does, the DoPcan fully concentrate on creating the filmimage. While the camera is running, ARRI -MOTION precisely records any cameramovement as well as lens adjustments;straight forward controls (such as: forward –reverse – go-to-start – go-to-end) make itpossible to replay the recorded move atany time and at any speed. This motiondata can be filtered and smoothed and alsoexported to post-production.

Moreover, ARRIMOTION offers the com-plete range of functionality of a “classic”motion control system, since all motions ofthe ARRIHEAD and the lens adjustmentscan be pre-programmed via keyframes.ARRIMOTION can import and exportcamera data from and to CGI-systems.

ARRIMOTION is a small, modular andquiet unit. The system is also able to controlexternal motors (for example dolly drives,model movers and snorkel optics). ARRI-MOTION can be operated by an intuitiveWindows-software from a laptop-computer.

An ergonomically designed data input unit(Jogbox) is available for programming. Usinga computer together with the jogbox, it iseven possible to play back individual func-tions while recording others.

A R R I M O T I O N

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Key Advantages of ARRIMOTION:• With ARRIMOTION, director and DoP

can create visual effects in the same styleof work as “normal” shots.

• Replay of the recorded sequences at anyspeed is possible.

• The tried-and-true operating elements ofthe ARRIHEAD, ARRIFLEX cameras andthe LCS that filmmakers are familiar withcan be used.

• ARRIMOTION can be programmed viakeyframes, can import data from CGI-sy-stems or can export to CGI-systems.

• ARRIMOTION supports all combinationsof iris speed and shutter ramps in connec-tion with the ARRIFLEX 435 MOCO.

• ARRIMOTION is small, lightweight, simpleand can be operated with both, batteryor mains power supply.

• ARRIMOTION is designed as a modu-lar system.

System OverviewThe ARRIMOTION Main ControllerThe ARRIMOTION main controller consistsof the following modules, which can be com-bined as required:• CCB-1: the Camera Control Box.

This basic module is a small box mountedon the ARRIHEAD. It is the communicationlink between camera, ARRIHEAD, laptopcomputer and other controllers of the ARRI-MOTION system. Multiple CCB-1s can benetworked together for further expansion.

• MCB-1: the Motor Control Box.This module controls up to three CHM-1headmotors. The CHM-1 motors are at-tached to an existing ARRIHEAD betweenthe hand wheel and the ARRIHEAD. Themotors employ a hand wheel connectionwith an adjustable damping feature. Thegear ratio can be adjusted steplessly overa wide range.Instead of a CHM-1 motor, the MCB-1 unitcan control the optical roll axis module.

• LCB-1: the Lens Control Box. This module controls up to three CLM-2lens control motors.

• ACB-1: the Auxiliary Control Box. This module controls up to three externalservo motors (model movers, dolly drives, etc.)

The ARRIMOTION Jogbox• the Jogbox is an ergonomically designed

user interface with LCD touch screen andthumb wheels. To remotely control theARRIHEAD and camera, a monitor andhand wheels can be added.

middle: The CHM-1 head motorscan be attached to theARRIHEAD in 8 positions,each 45° apart.

bottom: The ARRIMOTION MainController attaches to thecamera right side.

ARRIMOTION Works with the FollowingCameras and System Components:• ARRIFLEX 435 MOCO• ARRICAM• ARRIFLEX 435• ARRIFLEX 535A/B• ARRIFLEX 16SR 3• ARR IHEAD -2 : the existing ARRIHEADS

are suitable for operation with ARRI -MOTION. In order to increase preciseand accurate repetition, ARRI has devel-oped an ARRIHEAD-2 with integratedpositioning sensors.

• LCS: Using the hand units of the LensControl System, it is possible to controlfocus, zoom and iris while filming. Off-line programmed shots do not requirecontrol via the LCS.

• Optical Roll Axis Module: This module isattached between camera and lens andallows unrestricted high speed image rotation around the optical axis. Rotationspeed is controlled by the MCB-1.

A unique feature of the current generation ofARRIFLEX cameras is the ability to changecamera speed while the camera is runningand to compensate the resulting differencein exposure with the mirror shutter angle orthe iris of the lens. Such a speed change iscalled a ramp. Even though ramps are usedextensively by some technology-savy DPs,others shy away because of the costly trialsand errors involved in learning their properuse. Until now, previous experience has beenthe only way to judge the ramp settings to useon the set, since no method for accurate pre-visualisation existed. All that has changed withthe introduction of the ARRI Ramp PreviewController software (RPC). Now the result ofa ramp can be instantly previewed on theset, avoiding costly mistakes and re-shoots.

Using the RPC is simple. During a rehearsal thevideo assist is digitized into a desktop or lap-top computer. Ramp settings are entered intothe RPC and a preview of the effect is playedback on the computer’s monitor. Ramp settings

can then be adjusted and the result can beviewed immediately to find the best settings forthe desired effect. Because this can be done du-ring blocking or pre-lighting, the RPC integratessmoothly into the workflow on the set. Once aramp is decided upon, the RPC can be connect-ed to the film camera to shoot the ramp on film.

Flexible ramp previews and the ability tocreate and execute exponential ramps arepowerful features of the RPC not foundanywhere else. The RPC is available forWindows and Macintosh.

Technical Data

PC RPC (parallel-Port) with cable K2.47401.0

Mac RPC (USB-Port) with cable K2.47402.0

Mac RPC (ADB-Port) with cable K2.47403.0

PC RPC (parallel-Port) without cable K2.47404.0

Mac RPC (USB-Port) without cable K2.47405.0

Mac RPC (ADB-Port) without cable K2.47406.0

1 PC cable for LCC and RPC K2.47407.0

1 Mac cable for LCC and RPC K2.47408.0

Since June 2000 ARRI Munich ist the agentfor Europe for the new Imagica IMAGER XEfilm scanner. The agreement between ARRIand IMAGICA Corp. of Tokyo, already announced at the SIGGRAPH '99, hasnow become effective.

Scanning 2K images in 5 seconds/frameand 4K images in 11 seconds/frame, theIMAGER XE is three times faster than theearlier model, IMAGER 3000 V, an impor-tant time-saving in post-production. Perfectimage quality and excellent frame steadinessare of course retained even while digitizingat high speed, thanks to a precision pin-reg-

istered movement and proprietary filmgate.The IMAGER XE scans true 4k of FIDO10-bit: the full RGB colour spectrum andconsistent colour are retained.

The IMAGER XE enables 35 mm scans in1K, 2K, 3K or 4K up to 40 96 ∞ 6144 pixelsfor VistaVision, as well as optionally for16 mm and Super 16.

With its user-friendliness and superior imagequality, the IMAGER XE sets new standardsin digital film scanners, making it a perfectaddition to the ARRILASER for post-productionfacilities.

ARRI Ramp Preview Control ler

IMAGER XE

Both companies see this joint effort as thefirst step in a long-term partnership.

Contact: Robert Kandleinsberger,Tel. +49 - 89 3809 1698Fax +49 - 89 3809 1432email rkandleinsberger@arri.de

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A customer survey has shown that functionalityand efficiency of the ARRILASER are unri-valled. Some comments:

Martin Parsons of MPC, London: ”The qualityof the images in this production time – onlypossible with the ARRILASER - is simplyunsurpassed. Since we've been workingwith the ARRILASER, we haven't used ourexisting three CRT film recorders at all. Thisyear the throughput was 750,000 frameswith mainly 2K scans as source material.Over 60 % of these were visual effects. Themarket for 'digital-to-film' will continue togrow and in future entire movies will beproduced that way.” Productions by MPCare THE WORLD IS NOT ENOUGH, SNATCHand THE GOLDEN BOWL.

Andreas Rostock of Destiny 601 has beenworking with the ARRILASER since August1999: ”The unit is balanced, stable and fast.The throughput is approximately 2.5 millionframes a year, with almost entirely 2K scansas source material. 90 % of the output iscomplete feature films, 10% are visual effects.Some of the films produced with the ARRI -LASER are RAT, LAVA, WILFRIED, DETECTORand DOUBLE 8.”Satisfaction with the ARRI -LASER is also expressed in another point atDestiny 601: an additional unit has just beenordered and delivered.

Optical Art has been using the ARRILASERsince March 2000. Harald Lehmann says:”The decisive advantage lies with the possibil-ity to also produce on intermediate positivefilm. The throughput at our facility is already1,000,000 frames a year. As source materialwe mainly work with 2K scans, video D-1Digibeta, in advertising, animation and fea-

ture films. I firmly believe in the future of 'digital-to-film'. Particularly of course for thedigital lab and for sophisticated advertisingclips.” Optical Arts is currently working onJONATHAN 2001 and OTTIFANTEN.

New Hardware and SoftwareThe following options are now available:• 2,000 ft magazine for longer footage• high speed 2K module, reducing exposure

times to less than 4 s/frame which is thefastest time ever achieved

• HD module for 1920∞1080 source material• 3-perf. module as well as a Native Aca-

demy module (4096 ∞ 3487 pixels).

The current software version CLIF 2.0 offersnew frame processing possibilities such assharpening, size correction and contrastadjustment. Part of the software is the Appli-cations Program Interface (API), which ena-bles software-programmers to dock onto theARRILASER control software at a relativelylow level.

The new Graphic User Interface (GUI) is also integrated into the CLIF 2.0 and wasdeveloped together with Moving PictureCompany of London. It simplifies calibrationas well as batch processing and control ofthe various working steps on the user-friendlyWindows-NT platform.

Thomas Popp

A R R I L A S E R 2 0 0 0First delivered in July 1999, over 40 ARRILASER units are in use today –

19 in North America, 17 in Europe and 4 in the Asia/Pacific Rim region.

The ARRILASER has become an indispensable part of all leading

post-production facilities and laboratories.

CHICKEN RUN

Optical Ar t

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It is hot and humid in the converted shoefactory in Phuket/Thailand. Darius Khondji,DoP on THE BEACH, is crouching on a chairin a small room and staring intently at hisimages. He is viewing the previous day'srushes, projected by the ARRI LOCPRO 35 –a portable 35 mm projector, which was de-signed for use directly on the set. It enablesfilm crews to view rushes on-site without theneed to go to a laboratory or theatre. THEBEACH, starring Leonardo DiCaprio, tellsthe story of a group of young people whochoose adventure and a deserted islandover technology and portable communication.An irony of fate, because without the tech-nology of the LOCPRO 35, movie-makinghere in Phuket or other more exotic locationswould have been extremely difficult.

ARRI Media's rental manager Philip Cooperexplains: "THE BEACH was shot in an isolatedshoe factory in Phuket. There wasn't a labor screening room anywhere near. So wesuggested the LOCPRO 35 to the crew toenable viewing of the rushes directly on-site.It is a very portable unit and can be set upand switched on in minutes. The team justneeds a small empty room to project theimages onto a screen and evaluate them.

The LOCPRO has done fantastically well. It was often very humid and hot, but nothingdisturbed the machine."

New Features on the LOCPRO 35The LOCPRO 35 is being used increasinglyin film laboratories too. It has now beenequipped with new options and provides:

• large film platters with 2.200 ft./670 mcapacity

• a new film gate with exchangeable masks,adjustable frame-line and openings forvisual checking of the sound track

• 4-perf or 3-perf film transport• programmable timecode off set on the

display

The LOCPRO 35 achieves an illuminationlevel comparable to that of a cinema. Itcombines brightness and frame steadinesswith excellent image sharpness, regardlessof the projection speed. Single frame opera-tion and a switchable mirror system for wallprojection or video transfer through a ¹⁄₃ "high resolution CCD Color Imager providefurther comfort. By connecting the AudioSync Unit with DAT-recorders, magneticfilm players or hard disc recorders, imageand sound synchronisation is possible.

Life is a BeachWith the ARRI LOCPRO 35 on location

Productions which have used theARRI LOCPRO 35 on location include:BAND OF BROTHERS, SPECIAL EFFECTSUNIT, DoP Nigel StoneBORN ROMANTIC, DoP Robert AlazrakiCHOCLAT, DoP Roger Pratt BSCEND OF THE AFFAIR, DoP Roger Pratt BSCGLADIATOR, DoP John Mathieson BSCHANNIBAL, DoP John Mathieson BSCHOUSE OF MIRTH, DoP Remi Adefarasin BSCJANICE BEARD, DoP Peter ThwaitesNEW YEARS DAY, DoP John De BormanSAVING GRACE, DoP John De BormanTOPSY TURVY, DoP Dick Pope BSCPAGODA-KISS KISS BANG BANG, DoP Tony Pierce Roberts BSCU571, DoP Oliver Wood102 DALMATIANS, DoP Roger Pratt BSCand Adrian Biddle BSCCHICKEN RUN, Computer Film CompanyCAST AWAY, Director Robert ZemekisWAY OF THE GUN, DP Dick PopeTHE MEXICAN, DP Dariusz Wolski

15

Having moved into its new premises, ARRIItalia offers its customers a business atmos-phere of technical elegance. In addition tothe elegant showroom, there is a new servicedepartment with the latest state of the artequipment as well as a functional storeroom.With the new premises in Via Placanica in

AQUEST in Cologne and ARRI will coop-erate in future to ensure a better presencein the local market. After the announcementto go public, ARRI is now taking a furtherstep on its expansion programme.

AQUEST grew during the 1980’s in thearea of sound post-production services, andin the 1990’s with the latest technology indigital non-linear post-production services.The company is now one of the better-knownservice providers, mainly for TV produc-tions, in the greater Cologne area.

Franz Kraus, managing director of ARRIMunich, explains: ”I am very pleased withthis successful co-operation. In AQUESTwe have found the ideal partner for our fu-ture activities. Through our market pres-ence, we will be able to offer together withAQUEST the service in Cologne which ourcustomers in Munich already enjoy.”

Joint -Venture with AQUEST

ARRI Ital ia, Rome

Each year, PHILIPS Medical System Neder-land presents the Supplier Quality Award.In 1999 this award went to ARRI . The ARRITECHNO 35 system achieved thehighest rating due to the product quality,appropriate pricing and just-in-time delivery.

Morena (Rome), ARRI Italia is well set up to cater to the needs of the growing Italianfilm industry.

In 1985 ARRI Italia was established in Rome, and already in 1989 a second officewas opened in Milan, today being the main

f.l.t.r. Mauro Sembroni, Simone Marra, Sandro Di Iorio,

Nicoletta Catalano

f.l.t.r. Simone Marra, Mauro Sembroni

f.l.t.r. Franz Kraus, Hans Dreijer, Oscar Verhoeve

office of ARRI Italia. The Rome office coversthe market for central and southern Italywith the full range of camera and lightingequipment. In addition, an experiencedteam plans and supplies complete studiosincluding luminaires, suspension systemsand lighting control.

Suppl ier Qual i ty Award

16

WolfeAir, a LA-based company specializingin aerial cinematography, uses a variety ofaircraft, including a Learjet containing vari-ous camera systems. Kent Hughes, now afreelance aerial cinematographer who hasworked extensively with WolfeAir, explainsthe setup: ”It includes Bob Netman’s Vector-vision system, which is a zoom-equippedARRIFLEX 35 I I I periscoped through theaircraft’s belly and a second 35 III, with afixed 50 mm periscope, looking through theship’s roof. Standard practice was to mounta third 35 III in the nose compartment forin-flight POV shots. This third camera useda 400’ shoulder mag to provide a low pro-file in the small compartment.” Because oflimited space though, the nose-mountedcamera cannot be reloaded in the air, re-quiring frequent and time consuming landings.In addition, the operator has no indicationof a film jam while in flight. UnfortunatelyKent found that, ”on several occasions filmhad broken and shots were missed.”

Looking for solutions, WolfeAir briefly consid-ered a 35BL with a coaxial 1000’ magazine,but could not fit the camera with a top-mount-ed video tap into the jet’s nose cone. Kentsuggested using the ARRIFLEX 535. The535 has a lower profile due to the right-sidevideo tap, and the 1000’ magazine allowsmuch longer shooting times. Kent adds: ”The535 can also be remotely controlled by theLaptop Camera Controller, which gives mean instantaneous readout of camera status,frame rate, shutter angle, battery voltageand footage counter. This is invaluable in-formation when the camera is fifteen feetaway in an aircraft traveling at 500 milesan hour at an operating cost of thousandsof dollars per hour.”

WolfeAir has used the 535 riding in theLearjet’s nose and the Laptop Camera Con-troller riding in the back for numerous films,including TRUE LIES, BROKEN ARROW, EXECU-TIVE DECISION and ERASER. An added ad-vantage of this camera/computer combina-tion is the speed ramp capability. Kent usesspeed ramps frequently in the air, since ”Itallows me to tweak the feeling of motionwhile flying.”

Then Warner Bros. approached WolfeAir towork with Industrial Light & Magic (ILM) onClint Eastwood’s SPACE COWBOYS. Kent recounts, ”They wanted speed ramps ex-ceeding the speed range of the 535, so Isuggested using the 435 with a video-onlytop and a 400’ low profile magazine. Wetraded the disadvantage of the 400’ maga-

zine, with its the shorter running time, forthe ability to have a wider speed range.”

The small 435 camera body did fit easilyinto the jet’s nose cone, and since the LaptopCamera Controller can communicate withall modern ARRIFLEX cameras, Kent wasset. ”The shot for SPACE COWBOYS calledfor a climb towards the clouds at 96 fps,then they wanted to ramp to 6 fps as the ca-mera breaks through the clouds and spacebegins to appear. The LCC software allowedme to program this in as many variations aswe could devise, and for whatever screenrunning time. It worked great, and I thinkthey’re very happy with the footage!”

WolfeAir has just completed developmenton a new gyro-stabilized helicopter andcamera car mount called the “Gyron-FS”.Dan Wolfe, president of WolfeAir, says,”The Gyron-FS is specifically designed aroundthe 435 with a 1000’ magazine. The cam-era integrates so wonderfully into the system,and gives us such an edge over the compe-tition, that I am in the process of purchasingtwo 435 cameras that will make the Gyron-FS a turnkey system.”

Marc Shipman-Müller

ARRIFLEX Cameras and LCC Take-off

above: The 435 mounted in the Lear Jet’s nose

middle: Kent Hughes and the 535 mounted in a Lear Jet

right: The Gyron-FS

Operating the LCC in flight

17

In 1998, Lisius became the first ever to cap-ture a tornado classified as violent on 35 mmmotion picture film, in Spencer, South Dakota.The mile-wide tornado destroyed virtuallythe entire town of Spencer and was ratedF4 by the National Weather Service. Torna-does rated F4-F5 are officially categorizedas ”violent”. ”To our knowledge, there is noother footage like it in the world,” says Lisius.

Producer, director and cinematographer Mar-tin Lisius has spent a career “chasing” dead-ly tornadoes in the infamous “Tornado Alley”,a region of the United States stretching fromnorthern Texas to Nebraska, considered theincubator for these violent storms. ”My interestin severe weather began as a child growingup in Texas, a place that experiences moretornadoes than any other on earth. It was myexposure to these violent, but fascinating andoften beautiful storms that has entranced me.When I was young, I actually had nightmaresabout storms. I had a recurring dream that Iwas being chased by a large, dark tornadoand couldn’t run fast enough to escape it.Now, when I dream about tornadoes, they’regood dreams, because I’m chasing them!”

Lisius conducts approximately 35 storm “chas-es” each year to intercept and photographviolent weather. Dramatic scenes of tornadoesand thunderstorms captured on film during

these intense severe weather safaris have beenlicensed for use by television programs likeTHE X FILES, and on DISCOVERY CHANNEL, CBSNEWS, CNN and HBO as well as numerousdocumentaries and music videos. In 1993Martin Lisius established the StormStock li-brary to fill the many requests Prairie Picturesreceived for storm footage. The library fea-tures hundreds of tornado, lightning andhurricane cuts, and caters to the needs ofbroadcasters, advertising agencies and doc-umentary makers around the world.

According to Martin Lisius, an average of 200to 400 miles are logged per chase as he trav-erses Tornado Alley looking for conditions ripefor thunderstorms and tornadoes. Since Lisiusis ever vigilant and speed is crucial, he travelslight. His ARRIFLEX 35 III camera is kept in thevehicle ready to be set up in a moment’s notice.In the past he used the 35 IIC, but he now useshis ARRIFLEX 35 III exclusively. Lisius had hiscamera specially outfitted with a Nikon mountby Jim Meade of Cinemeade, and uses Nikon-style lenses since they’re much lighter than tradi-tional motion picture zoom lenses. His favoritelenses are the Tamron 28– 105mm 2.8 zoomand the Tamron 14mm 2.8 straight super wide.His package is designed for quick “point andshoot” use. ”Everything is organized and laidout for speed,” explains Lisius. ”The lens andfilm magazine are on the camera, which is

ready to roll. I’m ready to shoot as soon aswe put it on a tripod, focus and set the aper-ture. The ARRIFLEX 35 III is very ruggedand excellent for the extreme conditions weshoot in. It’s built like a tank,” says Lisius.

Discussing his passion for shooting on 35 mmfilm rather than video, Lisius muses ”It takesmany years to obtain good storm images. Ifyou’re planning for these images to have a longshelf life, you have to capture them on film.” Weare using the highest quality format available.When you originate in 35mm format, you havethe image quality needed for digitally compos-iting elements of your film with live-action foot-age used for visual effects shots in movies. Theywant steady, clean, high-resolution images.”

Equipped with nothing more than his ARRIFLEX35 III rig and a daredevil personality, MartinLisius is happiest working with Mother Nature.”That’s what makes the images so beautiful.We just do our best to get there, set up a cam-era and capture what she provides.”

F. Wieser

„TAKE A WALK ON THE WILD SIDE “

ARRIFLEX cameras have always been the faithful companions of thrill-

seeking cinematographers. Veteran storm chaser Martin Lisius, of Prairie

Pictures in Arlington, Texas, is one such adventurer who wouldn’t dream

of leaving home without his ARRIFLEX 35-III.

with Storm Chaser Martin Lisius

DoP Kurt Uqland of Prairie Pictures

Martin Lisius captures images for Prairie’s StormStock library

A killer tornado tears through Spencer, SD

on May 30, 1998 destroying nearly the

entire town

18

Recently Ms. Eisenhauer and her long-timementor and collaborator Jules Fisher providedthe lighting design for Broadway's CABARET,RAGTIME, MARIE CHRISTINE and THE WILD PARTY.Mr. Fisher and Ms. Eisenhauer began workingtogether fifteen years ago on Bob Fosse'sBIG DEAL and have worked together eversince, receiving the 1996 Tony Award forBRING IN 'DA NOISE BRING IN 'DA FUNK. Theirstudio, THIRD EYE, designs and conceiveslighting designs for all forms of live enter-tainment. To launch the new century theydesigned the lighting for America's Millen-nium, the live all-star concert at The LincolnMemorial and Washington Monument, andthe New Year's Eve ball dropping at TimesSquare. In the music industry, they havecreated designs for such diverse artists asWhitney Houston, Tracy Chapman, NeilYoung and David Bowie.

One of the first Lighting Designers to useARRI's HMI lights on Broadway, Ms. Eisen-hauer remembers initially working with HMIlights in 1993 with ANGELS IN AMERICA. Sherecalls that for a long time the limiting factorin the theatrical use of HMI lights was theirlack of dimming control. ”When the ARRIshutter and color scroller became availableand the HMIs could be controlled as a thea-trical light source with the availability ofmultiple colors, we then began to use theHMIs as a workhorse,” Ms. Eisenhauer ex-plains. The recent introduction of ARRI elec-tronic ballasts with DMX and remote dim-ming control will further enhance the HMIs'theatrical applications.

Ms. Eisenhauer goes on to describe howshe integrates the HMI lights into her designsystem: ”We use the HMIs primarily to take

care of the blue or colder part of the paletteand the incandescents to take care of thewarmer part of the palette. The color thenbecomes dazzlingly exciting to the eye! TheHMI has a color quality that no other lighthas.” But it's not only the color intensity thatARRI's HMI lights provide; it's their enor-mous “punch”.

”I like the boldness and force of a single lightsource. It provides the opportunity to covera giant area and still be bright enough to bevisible. You can literally take one 4 k or 6 kand crank it open to create a perfect moon-light scene using a single shadow source. Youcouldn't do this with any incan-descent light.A tungsten 10 k or even larger with a bluegel in front loses so much power that addi-tional lights have to be used, thereby cre-ating the undesired effect of multiple shadows.”

Of all the many entertainment venues where ARRI equipment can be found hard at work, surely the Broadway stage is

one of the most exciting. ARRI was fortunate enough to get a backstage perspective on the increasingly prevalent

theatrical use of its HMI lights from Tony Award winning and highly accomplished Lighting Designer Peggy Eisenhauer.

Broadway’s Brightest Lights

19

theatrical use of HMIs is still in the earlystages, and HMIs may require a little moreattention than other lights, ARRI intentionallyprovides an open line of communication toits users. ”I am very particular when it comesto technical reliability,” says Ms. Eisenhauer.”We feel that the best support comes fromthe manufacturer directly and ARRI has beenvery helpful and is quite good with phoneand e-mail communications. The key is thatonce the technician feels confident, it pro-vides so much more success to the tour.”

Peggy Eisenhauer and Jules Fisher also taketime out of their busy schedules to share theirtalent with other lighting designers. Each Fallthey participate in the Broadway LightingMaster Class, a four day conference thatMs. Eisenhauer has taught for the last sevenyears. The attendees range from graduatestudents and teachers of lighting design tolighting designers from different entertainmentarenas. The Master Class provides an ex-change of ideas and work styles betweenlighting designers. ”People come to learnwhat makes Broadway lighting design unique.”

On the horizon for Ms. Eisenhauer andMr. Fisher is the upcoming Broadway pro-duction of JANE EYRE, directed by John Cairdwith set design by John Napier, scheduledto open in December 2000. We can expectsome new scenic automation techniquesand a moving lighting system to be employ-ed, along with the continued use of ARRI'sHMIs. According to Peggy Eisenhauer,”The Broadway audiences have been taughtthe conventions of lighting by repeat attend-

RAGTIME

Photo: Catherine AshmoreScenery: Eugene LeeCostumes: Santo LoquastoLighting: Peggy Eisenhauer, Jules Fisher

RAGTIMEPhoto: Catherine AshmoreScenery: Eugene LeeCostumes:Santo LoquastoLighting: Peggy Eisenhauer, Jules Fisher

ance and we always try to surpass their expectations. We keep bursting out of thestandard in terms of visual brightness, colorand scale.”

F. Wieser / JT

CABARET

Photo: Joan MarcusScenery: Robert BrillCostumes: William Ivey LongLighting: Peggy Eisenhauer, Mike Baldassari

One of the most impressive qualities ofARRI's powerful HMI lights for Ms. Eisen-hauer is how well they travel. On a recentnational tour of RAGTIME, the lighting pack-age met the challenge of taking Broadway'sstandards on the road. The Broadway pro-duction of RAGTIME used three trusses with100 moving lights and huge amounts ofconventionals. On tour they were able touse ARRI HMI lights so effectively that theyreduced the lighting package to one-fifth ofits original size, requiring only a one-daysetup. The 100 moving lights were replacedwith six 2.5 k HMIs and eight 4 k HMIs.”Of course, we couldn't replace the movinglights for what they are,” says Ms. Eisen-hauer, ”but we achieved an incredible bright-ness and were able to maintain or even sur-pass the lighting quality people would expectto see if they came to New York.”

Another important factor when on the roadis the lighting technicians' level of comfortwith the equipment. When at work on Broad-way, lighting technicians rely on their “redphone”, the lifeline to their technical supportteam. On the road, however, that networkof local support disappears and technicianscan often feel stranded when a problem arises.This is where Ms. Eisenhauer feels that ARRIhas been particularly responsive. Since the

20

Over the last twenty-five years, ARRI USA has been an active part of

the International Film Workshops' development from a small summer

camp for photographers into an internationally acclaimed college.

Nestled in the small New England fishing village of Rockport, Maine,

the International Film- & Video-Workshops provide exciting educational

opportunities for both novice film students seeking to learn new skills,

and working professionals looking to hone their craft. Far away from

the buzz of the New York and Los Angeles film scenes, Rockport is the

perfect backdrop for creative discovery.

T h e I n t e r n a t i o n a l F i lm- &Video-Workshops

Conrad Hall at the first Cinematographer’sWorkshop,1975(photo D. Lyman)

Camera Assistant’sWorkshop Factory

In 1975, The International Film Workshopsheld its first seminar specifically for cinemato-graphers. The school’s director, David Lyman,along with Academy Award winning cinemat-ographer Conrad Hall (1969 Oscar winnerfor BUTCH CASSIDY AND THE SUNDANCE KID)organized a ”Master Class” for more than80 filmmakers from around the world. Hallcritiqued their films and talked about theprocess of photographing a motion picture,using some of his own highly acclaimed films(BUTCH CASSIDY, IN COLD BLOOD, ELECTRA-GLIDE IN BLUE) as class material. David Lymanapproached ARRI USA for a sponsorshipin the form of equipment and technical sup-port. ARRI, pleased to get involved, packed

ARRI USA: proud to be a part of its success

21

an ARRIFLEX 16 BL, a 16 S and a Sonorexprojector and sent Richard Schreibman, thenhead of the Sales Department, nine hoursfrom New York to Rockport to teach the firstCinematographer’s Workshop.

ARRI USA quickly became an active andcontinuous participant of the InternationalFilm Workshops and expanded its repertoireof supporting film equipment to include notonly the entire 16mm and 35mm camera linebut also added a large number of ARRI lightsas well. After a few years, the original cinema-tographer classes were split into more focus-ed Camera Assistant and Camera Operatorclasses. At each Camera Assistant’s work-shop ARRI USA provides two employees todemonstrate and lecture on the handling andmechanics of both the vintage and the new-est ARRIFLEX camera gear.

Jürgen Schwinzer, Vice President of ARRIUSA’s Camera Division, has been teachingthe Camera Assistant’s class since 1980.”We’re proud of the fact that we were the firstcamera company to sponsor and actively par-ticipate in the Workshops. I’ve been going toMaine for twenty years and have lectured onall of our cameras, including the 35 IIC, 35BL,16 S, 16 SR, 35 III and more recently, the535 B, 435 and 16 SR3. I especially remem-ber introducing the ARRI HMI Lights in 1980.”Schwinzer says he’s ”still impressed by thenumber of students who received their intro-duction to cinematography in Rockport andhave since pulled off exciting and successfulcareers as Camera Assistants, Camera Oper-ators and Directors of Photography. Some ofmy more memorable students were ChristopherHart, cinematographer for Eastman Kodak;Doug Hart, an accomplished AC who nowteaches the Camera Assistant’s class in Rock-port, and Australian DP Rob Draper (THE SPIT-FIRE GRILL). No matter where I go, I alwaysrun into former students of the Maine Work-shop. It’s great to see that ARRI’s sponsorshipof the Workshops has contributed so much tothe success of these young filmmakers.”

Over the years, ARRI USA staff has beenin good company. The faculty at the work-shop have included such accomplished cinematographers as: Vilmos Zsigmond(1977 Oscar winner for CLOSE ENCOUNTERSOF THE THIRD KIND), Gordon Willis (GODFA-THER I, II, III), Russell Carpenter (1997 Os-car winner for TITANIC), Walter Lassally(1964 Oscar winner for ZORBA THE GREEK)and Billy Williams (1982 Oscar winner forGHANDI), just to name a few of the many talented industry professionals who havebeen a part of this exciting experience.

The International Film & Video Workshops'director, David Lyman, comments, ”ARRIhas been an integral sponsor of and advis-or to the Film Workshops, helping the work-shops grow and fill a needed place in theeducation and training of the world’s film-makers, cinematographers and Directors ofPhotography.”

F. Wieser

Carmel Valley (CA) Camera Workshop with Vilmos Zsigmond, 1986

Walter Lassally’s class1980

Vilmos Zsigmond’s class1978

Billy Williams

Vilmos Zsigmond, Lighting Demonstration,

1984

Roger Eaton, Director of Photography, recently used the ARRI Ultra Primes to film a short,

contemporary film drama called COURIER, the script of which had won an Alfred Hitchcock Award.

COURIER was written, produced and directedby Rikki Tarascas who describes the film as acontemporary, up beat psychological film noirwith a surreal edge. Such a film demanded su-preme visual clarity and a wide range in tonalquality so the choice of lens was very important.

The story is about Luke, an artist and cyclecourier, who delivers human body parts in pack-ages without realising he is being drawn intoa subterranean world of crime and murder. Heis also a spin painter, throwing paint at a hugespinning wheel and, as Luke becomes awareof the contents of the parcels he delivers, hisart and life begin to descend towards a psy-chological crescendo of blood and paint.

To capture such a powerful story line on film,both Roger and Rikki wanted to give the film acontemporary feel with a look of mystery sothey decided to shoot everything clean without

C O U R I E R a film ofRikki Tarascas, DoP Roger Eaton

the use of filters. Roger had originally plannedto use Cooke S4s but Vince Wild of Take 2Film Services, the camera facilities house, hadsuggested using Ultra Primes.

Roger found that the Ultra Primes delivered thefeeling of luminosity and brightness needed tocapture the graphic clarity that they required.He felt that the Ultra Primes delivered a crystalsharpness, but also lent a very tonal, sensualquality to the subject. It is unusual for theseelements to be combined to such a degree inmost other lenses.

Using the Ultra Prime lens, Roger found that thefocus was very sharp and the contrast veryhigh. The colour saturation was good and thecolours seemed to be exceptionally purethroughout the whole spectrum.

The uniformity of each focal length within thesystem had a very good feel across the wholerange of lens. The nine blade iris looked veryround so when there was flare it gave a veryclassic feel to the image. Roger felt that this wasmore natural than a three blade iris. He tended

to use the lenses almost wide open and feltthat they responded amazingly well. The UltraPrimes were very tolerant to flare and, as prob-lems seemed to be non-existent, Roger felt thatthe optics must have been developed to themost sophisticated and consistent level.

Roger’s focus puller, Jonathan Oddy, likedworking with the Ultra Primes and found themvery user friendly, commenting that there wasno looseness in the ring, which was of greathelp when he only had an inch or so to playwith and he was pleased that the lens weremarked up properly in feet.

The longer focal length lenses, 35 upward,were used for the film and Roger’s particularfavourite was the 85.

The Alfred Hitchcock Award was set up byWaltham Forest Arts Council in conjunctionwith the London Film & Video DevelopmentAgency last year as a celebration of AlfredHitchcock’s Centenary year.

Roger Eaton is an award winning DoP of fifteenyears’experience, mainly in drama and commer-cials. He has worked on both small and largebudgets and a great variety of film projects.

Don Harris

Crescendo in Colour

23

WILDSCREEN 2000, the world’s biggestfestival of moving images from the naturalworld, takes place in Bristol, United Kingdom,from October 7 - 13 – with ARRI hostingworkshops and presenting its latest productsat the trade show. The event will attract hun-dreds of people from all areas of natural history film and television production – in-cluding cinematographers, producers, com-missioners, distributors and viewers – plusthose involved with interactive media.

Eighty ARRI lights have made way into thestudios of an Australian Television ShoppingNetwork (TVSN) based in Sydney, Australia.Cine AustralAsia, distributor of ARRI lights inAustralia, has provided 40 ARRI Studio 1 kWand 40 ARRI Studio 2 kW lights to TVSN.

”TVSN had a number of fluorescent lightsbut the images were too flat and a bit of'punch' was required to add dimension to

Wildscreen2 0 0 0

ARRI-L ights take Austral ia shopping

The aim of Wildscreen is to encourage and ap-plaud excellence in natural history productionsso that the worldwide viewing public’s interestin the natural world, and their awareness of theneed to safeguard it – is fostered and raised.

The week-long schedule includes screenings,seminars, debates, training workshops, master-classes and demonstrations. It is organisedby The Wildscreen Trust, a UK registeredcharity, in association with WWF UK.

the shots,” says TVSN Broadcast OperationsManager, Brian Subkey. ”After exploring asmany fluorescent options as could be found, Idecided the only solution was tungsten light-ing to complement the existing kit.

”ARRI was the answer and we chose 40 ARRI2 k and 40 ARRI 1 k pole operated studiolights to light TVSN’s 11 fixed set areas.Each area is lit and operated using presets.

The centrepiece of the week is the PandaAwards competition, through which the fest-ival rewards creative and technical excel-lence in film, television and interactive pro-ductions about the natural world and theenvironment.

ARRI GB Limited will be holding two work-shops for “In the field” Camera Maintenanceand an Introduction in 35 mm Photographyfor Wildlife Cinematographers.

”Having pole operation on the 1 k meantthat an operator could run into the studiowith only two and a half minutes up hissleeve, make the necessary adjustments tothe back lights, and get back into the controlroom in time before the next show starts.

”The budget was tight, as it is with any construction project. Decisions needed tobe made about redundancy and back upsystems. Spare luminaries could not be af-forded so it was decided to limit the num-ber of types of lights.

”If a replacement was required it could betaken from another set which was not beingused for that day. Thus the decision to go withthe Studio 1 k and Studio 2 k ARRI lights,”states Brian Subkey. ”If anything, the currentmethod, with the use of ARRI lights is farmore humane as well as cost efficient.”

TVSN is a 24-hour, 7 day a week shoppingnetwork that can be seen on Foxtel, OptusVision, Austar and Prime Television.

TVSN is the exclusive distributor for Harrodsin the whole of Australia and New Zealand,and promotes fashion, food, jewelry, an-tiques and many others items during the shows.

Don Harris

24

Gérard de Battista enjoys an internationalreputation, not only for his documentaries,but also as DoP of very successful featurefilms. VENUS BEAUTÉ was awarded four Césarsthis spring and has had over a million viewersin France alone. Having devoted the firstyears of his career to documentary filmsand reporting – it was the golden age of16 mm film on television – he eventuallyswitched to feature films. Among many otherfilms he shot LE SOLEIL EN FACE by Pierre Kast,POUSSIERE D’EMPIRE by Lam Le, UNE EPOQUEFORMIDABLE by Gerard Jugnot and 1.2.3.SOLEIL by Bertrand Blier. And his latest filmUNE AFFAIRE DE GOUT by Bernard Rapp alsopromises to be extremely successful. TechniCine Phot spoke with Gérard de Battista about his impressions during shooting of VENUS BEAUTÉ.

TCP: What made you decide to use the Variable Primes on VENUS BEAUTÉ?

G de B: 80 % of the film was shot at originallocations, in this case a beauty parlour. Itwas a very tight squeeze. Mobility of thecamera was as important as a broad rangeof available focal lengths. For the interiorshots I wanted to achieve a colour feelingwhich I would describe as ‘candy-coloured’.It should provide a sensitive contrast to theexterior shots in a dominant grey tone. Afterall, the story is set in winter. Consideringthe project with all its restrictions, the Varia-ble Primes seemed to be the perfect solution.After thorough tests, we rented the lensesfrom Iris Camera/Groupe TSF.

TCP: Where do you see the advantages ofthe Variable Primes compared to fixed focallengths?

G de B: A considerable aspect is the time-saving. It was ideal that we could use justthree lenses to cover a focal range from 16to 105 mm continuously, i.e. millimetre formillimetre. This way I was totally free to createimages. We reduced position change andpivot shots to a minimum – for example ifyou think of additional close-ups. With fixedfocal lengths there's a lot more work involved.For 80 % of the interior shots we used theVP 2 and shot practically without a lenschange. We had no time-consuming andannoying changes and more time to createimages.

TCP: And your other impressions?

G de B: Focus and contrast are as excellentas colour reproduction and sound-insulation.All in all it was very enjoyable to work withthem, and I got to the point where I no longerchecked the focal lengths, only the framing.I would also like to mention the large scales,which you can read from both sides. I wasable to ask my assistant for exact aperturesettings. Now if I needed 4 ¹⁄₃ I got 4 ¹⁄₃ …So to summarise the qualities of the VPs, Ihave a zoom with the qualities and precisionof a fixed focal length lens. A bit like squaringthe circle.

TCP: You have spoken about the plus points– where do you see room for improvementand further development?

G de B: Of course, nothing is perfect. TheVPs also have their limitations. But it's onlysmall things and they're not so bad. Theweight makes it difficult to use them in hand-held or Steadicam operation. And then there's

Venus Beauté

f.l.t.r. Jean-Louis Deriaz, Gérard de Battista, Yves Clanet

the question of rental costs. As DoP that isnot exactly my main problem, but of courseyou can't lose sight of the economic aspects.

TCP: Would you use the VPs on your nextfilms too?

G de B: I intend to. But of course that dependson the film. On VENUS BEAUTÉ I had experi-ences with them which completely convincedme of their advantages. I very much hopethe VPs will be available in France in largernumbers in future.

TCP: Thank you very much for this interview.

VENUS BEAUTÉ

An interview with Gérard de Battista

25

The Ultra Primes have become a standarditem on the rental programme at all Frenchrental departments – Iris Camera/TSF, Pa-navision Alga, Technovision … to name justa few. Jean-Louis Deriaz and Yves Clanet ofTCP in Paris spoke with the technical directorof Iris Camera/TSF, Alain Gauthier and DoPFrançois Lartigue.

TCP: In addition to the existing lens sets –standard and high speed – the Ultra Primeshave been available for about three yearsnow. What where the criteria for you to offerthe Ultra Primes in your rental department?

A.G.: The somewhat colder colour renditionof both the older lens series was occasionallyan issue. Sometimes our customers quite sim-ply wanted a warmer and softer portrayal.The series of Ultra Primes provides this.

TCP: So for you the Ultra Primes complementthe range of standard- and high-speed lenses?

A.G.: Yes, I'm absolutely certain that they'rea harmonious addition. With the three ranges –standard, high speed and Ultra Primes – we canmeet customer requirements to a larger de-gree. We now can offer them a further pos-sibility to be creative through a broader range.

TCP: The Ultra Primes have just been testedfor a new project on your premises?

A.G.: Yes, that's right. The director Alfred Lot,DoP François Lartigue and his first assistant,Piotr Stadnicki, will shoot their next projectwith the Ultra Primes: MOISSON VERTE, a co-production between Gaia Film and Telfrance.

TCP: Let us direct the question at DoPFrançois Lartigue – why did you decide touse the Ultra Primes?

F.L.: Firstly because anything new gets myinterest. I have used Zeiss/ARRIFLEX lensesmany times before and I appreciate theiroptical precision. I wasn’t familiar with theUltra Primes yet, but I had also used the Primos in the past and thought they weren'tbad. For our film MOISSON VERTE, whichwe're shooting entirely in a studio in Bang-kok, I wanted the image to be warm, andat the same time rich in contrast. The exten-sive testing at TSF convinced me to use theUltra Primes.

TCP to A.G.: As a rental house, of course youare also familiar with the Primo lens series,and you also offer the new Cooke lenses.Where do the Ultra Primes fit in comparedwith these two series?

A.G.: Compared with the first series, the Ultra Primes are considerably lighter andmore compact. Compared with the other series, they offer a more complete range offocal lengths. Some of those who have usedthe Ultra Primes praise the image reproduc-tion and the fact that the Ultra Primes lieexactly between the other two series – butthat is of course subjective. For us as a rentalhouse – and presumably also for the produc-tion – what counts is reliable and economicfunctioning, for example with the uniformand constant position of scales and gears.All standard controls and lens motors canbe used, and there is no repositioning re-quired when changing the focal length – a

The Ult ra Pr imes in Francereal time-saver. Due to the uniform front diameter, also the mattebox no longer needsto be refitted. The camera is ready to useagain faster. That saves time and money.For us in the rental department the focusscales can now easily be changed from meters to feet. The Ultra Primes offer valuefor money. What more do you want?I would also particularly like to emphasizethat we as a rental department highly ap-preciate these efforts by ARRI towardsstandardization and a complete product programme. All the accessories such as follow-focus devices, matteboxes, LCS-motors are fully compatible with the UltraPrimes. A standard has been created.

TCP: Thank you for the interview.

The Ultra Prime Series will be further expanded by late 2000 to include the focal lengths 28 mm and 40 mm.The 100 mm lens has been on the marketsince August.

The lens set now consists of the focallengths

10 mm, 14 mm, 16 mm, 20 mm, 24 mm,28 mm, 32 mm, 40 mm, 50 mm, 85 mm,100 mm and 135 mm.

This means 12 high performance lensesare available to the user. The last UltraPrime lens currently under development –the 12 mm – should be available by theend of next year.

f.l.t.r. Alain Gauthier (TSF/Iris),Alfred Lot (Director), Piotr Stadnicki (1. Assistent),François Lartigue (DoP)

26

The Patr iot

The Munich-based special effects companyMAGICMOVE created the model and mo-tion control shots this past spring. Combinedwith the Variable Primes, the ARRIFLEX 435proved to be the ideal camera for these sophis-ticated VFX-productions. The experiencegained has already flowed into developmentof the new motion control software for theARRIFLEX 435 – ”We were very pleased thatARRI asked us if we'd like to be beta-testersfor this application”, explains Sebastian Cra-mer, managing director of MAGICMOVE.

In over six weeks' shooting, a total of approx.35 miniature effects shots were made of themodels created by MAGICON. Most of theshots contain camera moves and were filmedwith MAGICMOVE's own motion controldevices. Joachim Grüninger, miniature ef-fects supervisor, explains their approach:

”The motion control performs exactly the samemovement in the model shot as the cameradid at the real location, although on a smal-ler scale. Most of the shots in the States weremade with encoded cranes, so we had motiondata available which was processed inMaya and from there transferred to themotion control.”

The background plates had been shot in various formats, many of them in 65 mm.A real challenge for FX-DoP Britta Mangold:”We couldn't use the same lenses, but wehad to 100 % match the image sectionsand focal lengths. The Variable Primesseemed made for this task. They are high-speed, sharp and almost free of distortion,which is an absolute necessity when you'recombining shots. They really are an alter-native to fixed focal lengths.”

With a budget of approx. 100 million US-dollars, THE PATRIOT is regarded as the most lavish

Sony/Columbia production this year. Roland Emmerich's latest film is about the American

Revolutionary War and is set in South Carolina. Benjamin Martin, played by Mel Gibson,

tries to keep himself and his family out of the intensifying confrontation with the English forces,

but in vain. After the tragic death of his son, he also goes to war and becomes the leader

of a rebel group, which eventually defeats the superior English army.

01Original Photography on Location,

Charleston S.C.

02

19th and 20th Century Buildings

Removed from Location Plate

”The exact focal length was defined by pan-ning over the calculated angle of the originallens with the motion control, and then zoom-ing in until the markers exactly overlap,” ex-plains Sebastian Cramer – ”It sounds morecomplicated than it is.” ”The quality of the IVSvideo-tap was a great help,” adds miniatureFX-supervisor Joachim Grüninger, also man-aging director at MAGICMOVE. ”Duringthe entire shooting period, we had a videomixer on the set, so we could match the posi-tions and lighting situations to the originaltakes and check them.”

Ten historical ships, six of them “three-mas-ters”, docks, a variety of buildings from

Charlston and Yorktown and the destroyedheadquarters of the English were producedby MAGICON in about four months con-struction time, giving work to 45 model-ma-kers from all over Europe. The largest shipwas seven meters long and over five metershigh – yet it was still a particular challengefor the model-shots. ”We had to light an al-most 40 m wide and 10 m high greenscre-en evenly, with only a third of an f-stop toleran-ce,” explains Britta Mangold.

”On model-shots it is also important to haveenough depth-of-field: f-stop 11 or even higher,” adds Sebastian Cramer. ”Motioncontrol actually has the advantage that you

FX-DoP Britta Mangold

Roland Emmerich on location

can shoot at a low camera speed and the-reby gain a load of depth-of-field. But if adetonation wire is stuck in the hull and it issupposed to explode, you really need ahigh-speed camera and a lot of light.” Forthis reason about 1.5 megawatt of lightwere rigged up in the studio.

Grüninger and Cramer are of course verypleased that MAGIMOVE and MAGICONas German companies were chosen for amajor American project. Joachim Grüningersays: ”We were lucky to have been able to do the model-shots for THE 13TH FLOORwhich was produced by Roland Emmerichin 1998. The results were very satisfactory.

03

Add Model Ships and 18th Century

Buildings

04

Green Screen Shoot for Model Street

05

Add Green Screen People to Model

06

Add Sky for Final Composite

MAGICON… was formed in 1987 and specializes in miniatures, mechanical effects, make-up effects and creatures. Credits include films such as NUR ÜBER MEINE

LEICHE and international productions such as THE BEAR, JOEY, THE 13TH FLOOR

and AMERICAN WEREWOLF IN PARIS. Currently MAGICON is building thecreature for SAMS, a Kinowelt movie project.

Joachim Grüninger, managing director and owner of MAGICON, is currentlyworking on the latest project of Claussen Wöbke Filmproduktion, WAS TUN,

WENN’S BRENNT as VFX-supervisor.

MAGICMOVE… was formed in 1993 by VFX-supervisor Joachim Grüninger and director Sebastian Cramer. The company works in the field of motion-control and VFXfor movies and commercials. Over the last years, well over 300 projects have been completed, mainly in commercials. Besides from renting out equipment, they also offer the complete production of visual effects, particularly for movie projects,such as pyrotechnics, miniature models, mechanical effects or effects layers.

Their movie credits include THE PATRIOT, AMERICAN WEREWOLF IN PARIS, THE

13TH FLOOR, WING COMMANDER. Commercial customers include Mercedes,Audi, VW, Porsche and many others.

And then one day the phone rang with anenquiry from Hollywood. That's what youalways hope for.”

And Sebastian Cramer adds: ”Also peopleare starting to realise that you don't neces-sarily have to create effects in the US orEngland.” The effects-makers at MAGICONand MAGICMOVE certainly wouldn't argue with that.

Sebastian Cramer

www.magicmove.de

www.magicon.de

29

The Lord of the Rings

Director/Writer/ProducerPeter Jackson on the set of

THE LORD OF THE RINGS

on location in Whakapapa, Ruapehu,

Neuseeland

Late last year, shooting began in New Zea-

land on one of the most spectacular literary

movie adaptations: J.R.R. Tolkien's trilogy

THE LORD OF THE RINGS. Director, script-writer

and producer Peter Jackson is breaking

new ground with the film: all three books of

this saga are not being directed as separate

films, but rather concurrently, as if they were

part of one enormous film production.

Tolkien's legendary work is considered oneof the most successful and popular books ofthe 20th century. To date in excess of 50 mil-lion copies in 26 languages have been sold.

In terms of equipment and crew, the produ-cers Peter Jackson, Barrie M. Osborne (THEMATRIX) and Tim Sanders (ABERRATION, THEFRIGHTENERS), as well as executive producersSaul Zaentz (THE ENGLISH PATIENT, AMADEUS),Bob and Harvey Weinstein (co-chairmen ofMiramax) can rely on a top-class team: WETAWorkshop is developing the necessary min-iatures, special effects creatures and make-up.Mark Stetson (THE FIFTH ELEMENT) is visualeffects supervisor. Conceptual artists areAlan Lee and John Howe, who are regardedas the leading illustrators of Tolkien's literarywork. DoP is Andrew Lesnie (BABE), and thecostumes were designed by Ngila Dickson,who was also responsible for the fantasy-series XENA and HERCULES.

As technical supplier, ARRI Rental was chosenas a reliable and long-time partner for thisambitious production. For THE LORD OFTHE RINGS, equipment is being used which

proved its merit before: several ARRIFLEX435 and 535 cameras, equipped withULTRA PRIME lenses. In addition, ARRIRental supplied a triple-axis Scorpio head.The technical dimensions of this film with aprojected shooting time of 14 months – ex-clusively in New Zealand – are enormous.In addition to the international cast includingElijah Wood, Christopher Lee, Cate Blanchetand Liv Tyler, on some shooting days up to5000 extras will be needed.

Everyone involved agrees that the filming ofsuch a cult-classic must meet the high expec-tations of the large number of Tolkien fans.Jackson says: "In the three years' preparationtime my team and I have poured our heartsinto this film. Shooting all three films at onceis in itself a first. But with all the special ef-fects, it was essential to plan everything down to the last detail."

In New Zealand everyone is convinced ofthe success of the production. Mark Ordesky,president of the production company FineLine Features, summarises: "We have a ca-pable team of film-makers and actors whoare dedicated to the project and doing morethan just their job. They will make this sagainto a deeply felt experience for movie-goers worldwide."

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The concept for the main show in the German Pavillon at EXPO

2000 is unusual: visitors enter a 70 m long, 25 m wide and 17 m

high room on six different bridges which lead through the entire

room at varying levels. On the side walls and even on the floor

there are nine screens for 35 mm film projections, with lighting

installations, 100 TV-monitors and moving sets distributed through-

out the room. Next to the visitors, in front of, above and below

them, images and faces appear.

Ideas and Images for

„720°

by Jürgen Schopper, Visual Effects Supervisor, ARRI Digital Film

In six and a half minutes the visitor is trans-planted to a neighbourhood party in an innercourtyard in Berlin, during which he experi-ences quite different stories on the nine screens.Because of the varying perspectives one canalways discover something new, even if theshow is visited several times.

In total we had two years to develop theideas, images and visual effects for theshow and to make it work in terms of content,aesthetics, technical aspects and budget.After the design phase, I planned and cal-culated the visual effects and shooting, inaddition post-production had to be involvedas well. I've often done that before, but thistime the dimensions were completely new.Even if we hadn't decided on the exactlength of the film at that stage, it was clearthat it would be an enormous event. Nobodyin the team imagined that it would have atotal length of almost 60 minutes later, be-coming the largest film to date to be process-ed completely digitally in Europe.

would all the shots we had planned be filmedto subsequently allow for optimal furtherprocessing? Which digital tools (soft andhardware) would be used in post-production?What should a sensible back-up strategylook like? Which artists would work on theproject? How long would the digital imagedesign take and what should it cost? Whatconditions would be necessary in order tokeep an overview during filming for ninescreens and the resulting problems?

Within the entire complex of post-production,the tasks were distributed to the appropriatespecialists. As by this time it had been decid-ed that all of the films really would have tobe processed digitally, a special VFX teamwas put together to subsequently work onlyon this project.

Harald Brendel, technical head at ARRI DigitalFilm solved all questions and challenges regarding the necessary, for the most partnew hardware and the back-up structure forthe entire project. He also devised a nomen-clature, which functioned within all datastructures and within the complete project.This made it possible for all those participa-ting in the show to speak “the same language”at any time and in every phase of production.It later became clear how important thatwould be.

The arrival of the architectural plans causednew problems: various screen sizes, differingaspect ratios of the screens and differingproduction conditions.

In order to get a first impression of the show,Sabine Diop, software developer for ARRIDigital Film, programmed the so-called ‘Vir-tual Viewer’. As the name suggests, it is avirtual model of the German Pavillon, whichenabled us to use various virtual body sizesand walk onto all six viewing bridges of themain show and view all nine films in real time. SGI Movies, the IRIX counterpart ofQuickTime, served as the basic material for

Pre-ProductionShortly after the project was announced,the idea for the preceding show and mainshow for the German Pavillon at EXPO2000 was developed by the agency Milla& Partner. In this phase, KUK Film Produc-tion arrived on the scene, and they commis-sioned ARRI Film & TV as their creative andreliable partner. This is already the thirdmajor project these three companies haveworked on together, so the collaborationhas already been tested many times before.One could even call them an experiencedEXPO-team, because they had also madethe film for the German Pavillon at EXPO1998 in Lisbon.

A presentation for the “Jury der Trägerge-sellschaft Deutscher Pavillon” was preparedwhich included a layout of the show's con-cept and image contents. Michael Tischnerdeveloped the composite of various pre-liminary visualisations and animation onthe Inferno, which had been created byMichael Grobe and Frank Dürschingerwith Maya and After Effects. This presenta-tion confirmed that our show concept wouldreally need and fill the gigantic space of thePavillon. But above all, the content con-vinced the committee, and the decision wasmade in favour of Milla & Partner and KUKFilm Production.

All the images we had planned could nowbe created. The stories in the film took onshape. We constantly had new ideas forinteresting image aesthetics to support thecontent and messages of the film. Finally wehad formulated our ideas and drew themonto a storyboard for nine screens,100monitors, partially moving sets and a com-prehensive lighting story. Josef Kluger of KUKwould direct it as planned, with Wolf-NilsMalchow as production manager and DavidSlama as DoP.

The planning phase began at many levelsand gave rise to a load of questions: how

31

– Germany right in the Middle!“

32

the Virtual Viewer. In addition we wereable to get an even better impression withSpace Mouse and 3D-glasses. As the Pavillonhad not yet been built at the start of post-pro-duction, this was the only way to constantlycheck our work in the context of the availa-ble space.

PrevisualisationPrevisualisation was the next point on theprogramme. Once it had become clear thatwe would create the main location, an innercourtyard in Berlin, completely in the studio,we simulated some camera tracking shotswith computer animation. In the opening sequence the cameras were to start in a vertical sinking motion over the roofs of Berlin, passing several windows and finallylanding in a backyard party. The spectatorsshould have the opportunity to look into theapartments behind the windows, wherevarious little stories were unfolding.

How long does it take to tell each of theseshort stories on film? Here the computerprovided a good visual aid. Using Maya,we built the entire backyard set accordingto the plans of film architect Benedikt Herforth.

After some trial animation, we were able todetermine a good speed of descent for thecameras. These values were later programmedinto the Motion Control unit of the companyBrains & Pictures to be used in filming.

On May 27th 1999 the first take for "720° –Germany right in the Middle!" began. Filmingwas done mainly on 35 mm film in Super 35,open gate. For the sometimes very complexand unique shots, it was also necessary todevelop a series of film-technical innovations.To carry out an aerial shot with a panoramicview, a new type of camera-synchronisationwith phase-accurate shutters was created atARRI Rental for up to nine ARRIFLEX 435cameras. The company Tyler in L.A. contrib-uted a purpose-built helicopter rig for thecameras.

Post-ProductionBirgit Klingl and Klaus Knoesel were onhand for the complex task of Avid editing.They would eventually have to edit nine si-multaneous films. These partially provide a360° perspective of the space, or they playcompletely with free associations on individ-ual screens, before returning to a panoramic

image. The solution was to be found in traditional editing: a film is edited in themind – here it's nine films all at once!

And who should now produce the link be-tween the Avid-EDLs and the ARRI labora-tory's Excalibur-directories? Who wouldcreate a scanning list from it for the Genesisfilm scanner? Because that's what scanning-supervisor Steven Stueart would need in orderto prepare the mammoth project for the digitalimage design. After some consideration,Angela Reedwisch, manager of ARRI DigitalFilm, had the idea of enlisting the servicesof programmer Andreas Kern for this EDL-management. Thanks to his help the inter-action worked without a hitch. Through hisachievement, each scanned shot carriedthe final master-timecode as soon as it wasavailable as a series of digital images. Thishad to be possible even on several filmedlayers, as these would later produce a singleimage in the composite.

As agreed with digital film compositorsMichael Tischner and Florian Martin, Sili-conGrail's Chalice was selected as the maincompositing tool. During digital image

ARRI Digital Fi lm… was founded in early 1994 as an addition to ARRI TV Production Service Ltd. In those days stilla pioneer in digital image processing for movie productions in Germany, the department can nowlook back on six successful years. Angela Reedwisch has been in charge since the start of ARRI Digital Film, and is supported by a competent and experienced team: Jürgen Schopper is responsiblefor the creative side and Harald Brendel for the technical side.

Some time ago the “Commercials”-branch, under the leadership of Michel Schütz, was integratedinto ARRI Digital Film, allowing synergy effects to be improved and more effectively used.

The tools being used at ARRI Digital Film are becoming more and more sophisticated, reliable andfast: with the ARRILASER, the image compositions which have been designed with much creativityand attention to detail can be exposed back onto a 35 mm negative. The loss in sharpness and contrastwhich used to be typical when using traditional devices are no longer an issue. The high resolutiondigitization of film images is now possible on the Imagica scanner as well as on the Kodak Genesisscanner.

The high-definition Telecine “Spirit” is one of the latest acquisitions. Among many other features thissystem enables digital colour correction of complete feature films in real time and in high resolution(1920 ∞ 1080 pixels), fulfilling the dream of many directors or DoPs to, at last, have the same abilityto define colour-timing for movies in the same way as for TV commercials.

For movie projects like HARTE JUNGS (Constantin Film) or THE CALLING (Fanes Film) they carried outthe digital visual effects as well as for the unusual 360° film projects for the Expos in Lisbon and Hanover. Currently ARRI Digital Film is working on the complex animation and composites for theinternational feature film ALL THE QUEEN’S MEN (Streamline).

processing, a further composite assistantposition was introduced, shared by NadineSchömann and Stefan Tietz, for retouchingthe incoming scans and carrying out back-ups.For computer animation the decision wasmade in favour of Maya from Alias/Wave-front. The software had already been suc-cessfully used on the large project OceanisJet and was considered to be reliable. Com-puter animation artists Michael Grobe andFrank Dürschinger completed the team.

”720° – Germany right in the Middle!” hadbeen processed subdivided into six separatethematic blocks. At the end of each structuredblock of effects, an intermediary review wascarried out under the supervision of PeterKrieg, creative representative of the GermanPavillon's sponsorship committee.

After the successful completion of the project,film recording via ARRILASER went withouta hitch, and lab work could be planned andcarried out. Right on time on 1 June 2000,the event began.

Jürgen SchopperJürgen Schopper (born in 1968) studied painting, communications design and digital image design.He worked as a freelance computer animator and production designer for film and TV productionsbefore being employed as computer animation artist on the Hollywood “blockbuster” production INDEPENDENCE DAY in 1995. After that he returned to Germany as a freelance Visual Effects Consultant.For over three years he has been working for ARRI Digital Film as Visual Effects Supervisor. In thisposition he supervises exclusively feature film productions and large-scale events. He also teaches atuniversities, and lectures at trade fairs and congresses. He has written articles for magazines andtrade publications, and has published two books. For the last two years Jürgen Schopper has beenteaching video and computer animation at the Georg-Simon-Ohm Technical College in Nuernberg.

Angela Reedwisch Harald Brendel

Jürgen Schopper

34

M y s t e r y o f N a t u r e –

South Sea PearlsA turquoise blue sea, a white beach, mysterious subtropical rainforests – colours which

push every painter to his limits. In the South Sea nature has conjured up, both on land and

under water, a Garden of Eden which has fascinated man for centuries. The Cook Islands,

a paradise become reality, was one of the destinations of Gogol Lobmayr and his team.

They filmed SEASONS here, the third part of MYSTERY OF NATURE, an ongoing project over

several years. Impressive images should bring the natural environment of the native peoples

there closer to our understanding. For the film a special soundtrack is composed by

Roland Häring, featuring the extraordinary voice of Eva Norel, just as for the second part,

COLOR OF EARTH. I, Clemens Danzer, was able to participate in two weeks of filming

in this fantastic corner of the earth.

Our equipment consisted of an ARRIFLEX435 set to Super 35 with an integrated video system (IVS). Even without heavy Scope lenses it allows shooting in a ratio of1:1.235. A 60 mm macro for breathtakingclose-ups, the Century 9.8 mm for extremewide-angle shots and the 25 – 250 mmAngénieux HR formed part of our lens selection. In addition Gogol Lobmayr whois very aware of quality, chose the VariablePrime lenses to save weight, space and aboveall time-consuming lens changes. Only po-larizing filters were used in order to give usas genuine an image as possible. Two Stead-imags gave our 435 a further weight advan-tage. We filmed on Fuji tungsten and daylightstock, which Lobmayr prefers. Using theABC lightweight crane (9 kg total weight)together with a remote head, we were ableto shoot impressive camera tracking shotsup to 4m height. The crane system was pack-ed to fit into a specially made bag (approx.160 x 40 x 40 cm) which could comfortablybe carried by one person. The remote headwas operated via a cable system by a mo-bile joystick controller. As an optical checkfor the operator we used cyber-glasses tosee the camera’s video assist image – high-tech in the middle of untouched nature.

Arrival in ParadiseApril 8th: After 26 hours' flight time we ar-rive in Rarotonga: it's muggy and humid at30° C in the shade. Despite the long flight,we can still feel the wet and cold Germanweather in our bones. We are tired and yetexcited about what for many is synonymouswith the word paradise: the South Sea.

With an area of 65 sq. km and 9500 inhab-itants, Rarotonga is the largest of the CookIslands. It consists of a single volcanic moun-tain covered in tropical vegetation. Only afew passages lead through the closed reef.With Rarotonga as our starting point, wewould cruise through the South Sea island

world two days later on the World Discoverer.The specially designed boat is a mixture ofpassenger boat and expedition ship. Withits ability to move in shallow waters andtight spaces, it can sail close up to islandsand atolls. Glass-bottomed boats and zodiacs– rubber dinghies with an outboard motordeveloped by Jacques Cousteau – extendedour cruising radius and proved to be theideal means of transport for our equipment.

In Captain Bligh's TracksApril 10th: After boarding we headed forAitutaki on the same evening, reaching itthe next morning at sunrise. A light windrippled the water, and we could well imag-ine the legendary Captain Bligh discover-ing this island in 1789 on his Bounty. Todayit is considered one of the most beautiful ofthe Cook Islands. What other medium couldbetter capture our impressions than 35 mmfilm? More than once I thought – consider-ing the large variety of animals and birdsand the gloriously colourful vegetation:”Where should we start filming first…?”

On the Tonga-island group we spent a lot of time going through difficult jungle terrainwith our equipment. In order to transport

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the camera safely and as protected from vibrations as possible, Lobmayr developeda special rucksack system. With the light-weight crane we created some beautiful track-ing shots from up high through the thick veg-etation bathed in sunlight. The twin-motor LCSproved to be a great help here, enabling usto easily remote control zoom, focus and also the camera. Before nightfall we headedfor Western Samoa.

From Samoa to FijiMemories of Gary Cooper in RETURN TO PARADISE, which was filmed here in 1952adapted from James A. Michener's novel,further strengthen the myth of island paradisehappiness, as do the South Sea stories ofRobert L. Stevenson, who made Samoa hishome in the last years of his life.

The French territory in the Pacific includesthe islands Wallis and Fortuna. In 1990the World Discoverer was the first passengership to cast anchor before the mountainousvolcanic island and to be allowed to pay ita visit. We had the chance here to makevarious slow and fast motion shots: impres-sive cloud formations and colourful locationsformed the background. In seconds our 435was programmed to the new requirements.With filming speeds of 1 fps to 150 fps, wewere able to fully exploit the camera's tech-nical possibilities.

The last stop before my journey home wasFiji. With an area of 18376 sq. km, Fiji isthe largest island group in the South Pacific.It consists of 332 islands, over half of whichare uninhabited. We again drove by jeep,looking for suitable locations for filming.And neither rain showers nor difficult terraincould dampen our enthusiasm.

End of the South Sea DreamApril 23rd: With great regret I left the WorldDiscoverer. With ten rolls of exposed film inmy hand baggage and accompanied bymany beautiful memories, I began my triphome. Unfortunately we weren't able to makea “Making-of” video, as our video cameraquit on the third day because of the highhumidity.

Despite various bouts of sunburn, my trip to the South Sea was one of the most won-derful experiences I've had, and I'd like toagree with a quote by Gogol Lobmayr in-tended to improve our attitude towards ourearth, which we tried to live out on the proj-ect FASCINATING NATURE 3: ”Take onlypictures, leave only footsteps…”

Clemens Danzer

Clemens Danzer

… is the business manager at ARRI Camera-Rental, Munich, as of May 2000. He works close-ly with the head of ARRI-Rental, Thomas Loher.

In 1991 he began his business training at ARRI Cine Technik and moved on to ARRI -Rental two years later to take care of specialprojects. He was able to gain experience innational and international business processeson large productions such as PEACEMAKER,DAYLIGHT, FORTRESS II and WING COMMANDER.Most recently he worked with Robert Wiesmannwho left ARRI this June.

Action ConceptWhen it comes to stunt- and action films, thecompany “action concept” is regarded asone of the top addresses in Europe. The stuntspecialists from Cologne produce the success-ful action series ALARM FÜR COBRA 11, DERCLOWN and MOTORRADCOPS for the TV chan-nel RTL. Their trademark: extraordinary stuntsusing flying cars, jumping motorbikes andhelicopters diving to attack. GLADIATOR starRalph Möller, who is otherwise used to la-vish Hollywood productions and star directorslike Ridley Scott, has just shot a TV movie inPortugal with “action concept” and is full ofpraise for the filming: ”Action concept produc-es TV series the way other people make fea-ture films. Stunts and camera tracking shotsare first class.”

Obviously, for this sort of thing special de-mands are made on the equipment: ”Weshoot only with ARRI cameras”, explainsthe camera technician in charge, Achim Viander. In the camera equipment building,a load of cameras has just arrived, to beused on the stunt shoot for DER CLOWN. Theseries will be shot with an action unit and adrama unit. Each unit is using three ARRI -FLEX 16SR 3s, because all action-conceptseries are filmed on 16 mm film.

DoP Claus Peter Hildenbrand, who advises“action concept” on the purchase of camer-as and on technical developments, says:”The SR 3 Advanced is a high-quality andhighly developed camera technically. But if it gets really violent, we do place the camer-as a bit further away. Then our specially de-veloped crashboxes have to do step in.” Remote-controlled, shock-proof, fireproofand sometimes even waterproof – thesecrashboxes, equipped with an ARRIFLEXST – film the toughest stunts from all angles.For example, they are attached inside a car,which then rolls over several times. Only afew cameras withstand that.

”Using a video camera would be unthink-able”, says Achim Viander. Camera assist-ant Daniel Blaum adds: ”The exposure range,contrast and definition of film just haven'tbeen met – video cameras can't providethis quality.” And the cameras really mustput up with a fair bit: they are strapped onto bungy-ropes and thrown over a hun-dred-meter drop, driven over by stunt cars,

Stunt man Alain Courtois is catapulted from the roof by

an explosion (DER CLOWN)

DoP Claus Peter Hildenbrand shooting on the set of the

TV movie DER TRÄUMER UND

DAS WILDE MÄDCHEN

Chase through the old part of Lisbon for DER CLOWN

or they have to withstand motor partsflying all around.

Thanks to their own developments, actionconcept has managed to reduce the “wearand tear” on cameras. ”When we beganexperimenting with the crashboxes, we de-stroyed at least three cameras each weekon stunts”, Achim Viander remembers.”Today that happens at the most three timesa month, although we have three times asmany shooting days a year.” In total 40 ST-and 12 SR 3 cameras are used by “actionconcept” almost around the clock. Yet Vianderand his colleagues are already planning thenext purchases: ”If RTL gives us any morework than the three action series we haveproduced to date, we will need new camer-as too, because we prefer to rent equipmentonly in exceptional situations.” The actionseries of the Cologne group are alreadyproviding European-wide advertising forGerman stunts and camera work. The actionconcept series ALARM FÜR COBRA 11 and DERCLOWN are selling as well with foreign TVchannels as only DERRICK or KOMMISSAR REXhave been able to do in the past.

Wolfgang Wilke

38

Din Yin Nan, one of China's best known directors, is currently filming a biography ofLi Fu Chun and Cai Chang. Li Fu Chun wasChina's Deputy Prime Minister in the 50s. The film is being made to celebrate his 100thbirthday. It tells his life and that of Cai Chang,a fascinating person who led the women'smovement in China in the 70s. The storybegins when the two are students togetherin 1920 in Paris. Their long path leads themvia Moscow back to China, where they tryto realize their ideals amidst the confusionof the cultural revolution.

With a budget of about 2 million US $, thefilm is one of the most important documen-tary productions this year. Behind the camera,an ARRIFLEX 535, is the DoP Mu de Yuanwho has won many prizes for his work.

Madame Cai and Mister Li

Max Welz – his Doub le Ann ive rsa r y

f.l.t.r.: Max Welz Robert Arnold Franz Kraus

DoP Mu de Yuan(left) and director Din Yin Nan

Only a few people can celebrate an anni-versary like this: in August, Max Welz hadtwo reasons to celebrate – on 6 August heturned 75, and since 1st of August he canlook back on a 55 years’ career with ARRI.As managing director, his thorough knowl-edge and great experience make him acentral figure in ARRI's complex operation.

In August 1945 Max Welz began workingfor ARRI as a lathe operator, and two monthslater was promoted to head of this department.Shortly afterwards he took on responsibilityfor the milling department as well, whichwas at that time relocated in Brannenburg.From 1949 onwards he was also head ofthe departments for equipment repairs, partsquality-control and for stocks of tools andraw materials. It didn't take long for newactivities to come along during the economicboom years when Max Welz set up productionplanning and in 1962 became head of thisdepartment. In 1980, he was given the taskof combining the areas of materials manage-ment, cost analysis, production and invest-ment planning into one modern logisticsdepartment.

Numerous technical innovations constantlydemanded even more complex co-ordination.In 1981 Max Welz became technical headof equipment-manufacture. This made himresponsible for the entire production of cam-eras and lighting equipment, as well as for alltechnical departments. In 1992 he was ap-pointed to the company management, to benamed managing director of Arnold & RichterCine Technik GmbH in the spring of 2000.

His energy is extraordinary, and despite increasingly comprehensive tasks he is stillextremely well informed on everything thatgoes on at ARRI. His knowledge from 55years of experience with the company flowsinto the daily production process, and wemay hope that this will continue for manyyears to come.

MM

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Founded in 1963, William F. White Ltd. isCanada’s oldest and largest motion picture,television and theatrical equipment supplycompany. With offices in Vancouver, Calgary,Winnipeg, Toronto, Montreal, Ottawa, Que-bec City and Halifax, White provides coast-to-coast support. From camera systems, specialtylenses and remote heads to camera cars,cranes, dollies, generators, lighting packagetrucks as well as lighting and grip equipment,an extensive inventory is offered. With a wideselection of new technology equipment, President Bill White and the staff strive tomaintain a leadership role in the industrythereby allowing productions to operateon the cutting edge at all times. Toronto isthe home to the company’s state-of-the-art,130,000 square foot headquarters. In ad-dition to its Canadian operations, the WilliamF. White Ltd. works with affiliates in the US(Wilmington, NC) and Europe (London andBudapest) to supply a truly international full-service resource to production.

A very special association was also estab-lished with Budapest-based Sparks LightingLtd. (founded in 1992) in conjunction withCAM-35 Ltd. (in operation since 1997). Part-ners Richy Romwalter and world-renownedcinematographer Vilmos Zsigmond (who cele-brated his 70th birthday in 2000!) providea wide range of ARRI lighting, grip and cam-era packages. Sparks Lighting and CAM-35have supplied ARRI technology on many pro-ductions including the recent WHEN TRUM-PETS FADE and THE TOUCH.

In early 1996, White’s made a serious com-mitment to the purchase of new technologycamera equipment. According to ChrisHolmes, the National Camera Manager, the

number of packages in the Camera Depart-ment’s inventory has tripled since that time.ARRI technology, including ARRIFLEX 535’sand 435’s, Ultra Primes, Variable Primes,and the complete range of supporting acces-sories, plays a significant role in White’scamera inventory. Just a few of the recentproductions using 535 B cameras are SOLESURVIVOR, THOMAS AND THE MAGIC RAILROAD,THE LONE GUNMAN and HARVARD MAN. The435 ES camera list includes AFTERSHOCKand D2K. Chris also notes that White endeav-ors to offer the best in-house camera andlens service support. The Zeiss K-6 MTFmachine is just one example of what theService Department currently uses on aregular basis.

William F. White Ltd. houses huge lightingand grip inventories and North America’slargest commercial package truck fleet.White’s V-P Larry Sacchetti says that ARRIlighting equipment, including Tungsten Fresnels, T12’s, and Pocket Pars, is out onset constantly. At present, CHAMPS and D2Kare using ARRIFLEX equipment and, overthe past year, production credits have in-cluded THE HURRICANE, X-MEN, and SKULLS.

As part of its commitment to a maintaining aninternational profile, White has developedone of the industry’s most active Internet web-sites. The site, located at www.whites.com,has on-line product catalogues, virtual realitytours of the company’s Canadian locations,and a multitude of additional informationabout the history, people, products and serv-ices of William F. White Limited.

Penny Watier

W i l l i am F. Wh i t e L t d .

ARRI TV Films and SeriesTitle Production Company

AUS GUTEM HAUSE TV 60 FilmproduktionBLACK BOX Fanes FilmVERA BRÜHNE Constantin FilmHIMMLISCHE HELDEN D.i.e. Film GmbHDOPPELTER EINSATZ SÜD AllmediaWILDER KAISER Mecom FilmDER DOC BrainpoolALL THE QUEENS MEN Streamline FilmproduktionHEAVEN X-FilmeDIE LIEBE IST EIN KROKODIL D.i.e. Film GmbHDER UNBESTECHLICHE (5 – 8) Hofmann & VogesTATORT: ZEIT von Vietinghoff FilmGEIER IM REISRAND TV 60 FilmproduktionJOSEPHINE Indigo FilmDIE WACHE Endemol EntertainmentALARM FÜR COBRA 11 Action Concept

A Select ion of Cur rently Serviced

Productions

ARRI DIGITAL FILM CommercialsClient Production Company

CHUPA CHUPS „REPUBLICK“ GAP Films Commercial Prod. GmbHOPEL ASTRA „CONDUCTOR“+„VIOLINIST“ GAP Films Commercial Prod. GmbHPAYBACK „PORSCHE“+„VATER & SOHN“+ Picture Planet GmbH„RESTAURANT“

BANANAFISHBONES „GLAM“ Picture Planet music division GmbHPHILIP MORRIS „LIGHTER“ INPUT Filmproduktion GmbHVIAG INTERKOM „LOOP“ Start AGDEUTSCHE TELEKOM AG „KRUG / BRAUER BÖRSE“ E & P Commercial GmbHMC DONALD´S „FIX UND FOXI“ E & P Commercial GmbHDJ TOMCRAFT VS. SUNBEAM „VERSUS“ lucie_p film & fernsehprod. GmbHHOLSTEN „PET VOLLTREFFER“ Embassy Of Dreams Filmproduktion GmbHFREUNDIN RG Wiesmeier Werbeagentur GmbHMC DONALD´S „TEXAS MÄC“ CCA Clay Coleman Associates GmbH

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ARRI Camera Rental M U N I C H

Title Production Company Director DoP Equipment

LORD OF THE RINGS 3 FOOT 6 Peter Jackson Andrew Lesnie 535, 535B, 435ALL THE QUEENS MAN Streamline Stefan Ruzowitzky Wedigo v. Schultzendorff 535, 535BFUßBALL IST UNSER LEBEN Hofmann & Voges Film Tomy Wigand Diethard Prengel 16SR3OCEAN WARRIOR Helkon Mr. Sverak Vladimir Smutny 535, 535B, 435THE ENEMY The Carousel Pictures Tom Kinneont Mike Garsath 535, 535B, 435THE POINT MEN PRODUCTION The Carousel Pictures John Glen Alec Mills 535B, 35 IIIKITES OVER HELSINKI Kinoproduktion Peter Lindholn Kjell Lagerroos 535, 535BERKAN UND STEFAN Hofmann & Voges Film Michael Herbig Stephan Schuh 535, 535B, 435

ARRI Digital Fi lmTitle Production Company Director Service

EXPO 2000 DEUTSCHER PAVILLON UND EU-PAVILLON KUK Filmproduktion Josef Kluger Digital Pre- and PostproductionEU-TIMESHUTTLE KUK Filmproduktion Josef Kluger Digital Pre- and PostproductionSPACE ZOO T4 Film Werner Kranwetvogel Digital Visual EffectsVORTEX Fieber Film Michael Pohl Digital Visual EffectsDER KRIEGER UND DIE KAISERIN X-Filme Tom Tykwer Titledesign and -animationUND DAS IST ERST DER ANFANG Schlemmer Film GmbH Pierre Franckh Titledesign and -animationTHE CALLING Fanes Film GmbH Richard Caesar Digital Visual EffectsNELE UND CAPTAIN X-Filme Connie Walther Digital Visual EffectsHIJACK STORIES Schlemmer Film GmbH Oliver Schmitz Titledesign and -animation,

Digital Visual EffectsALL THE QUEEN´S MEN Streamline Filmprod. GmbH Stefan Ruzowitzky Digital Visual Effects

CSC New YorkTitle Production Company DoP Equipment

SUPER TROOPERS Screaming V Joachim Baca Asay 535BNANCY AND FRANK Schenk Productions Igor Vendea 435 ESPOOTIE TANG PT Productions Willie Kurant 535B, 435 ESGYPSY 83 Gypsy 83 LLC Gina DeGeralamo 535BDOWN Gun for Hire Production Marc Ferperlaam 435 ESDUMMY Dummy Productions Horatio Marquinez 535BLONG ISLAND EXPRESSWAY Belladonna Production Romeo Tirone 535BGHETTO DAWG Jersey Bred Production Sean Kim 535BTHIEF IN THE NIGHT The Thief Co. LP Matt Roberts 535BED Ed Production Rob Draper 535B

ARRI Media L O N D O N

Title Production Company Director DoP Equipment

MUMBO JUMBO Firelight Entertainment GmbH Julian Rodd Nina Kellgren BSC 535BBAND OF BROTHERS Band of Brothers Ltd Phil Alden Robinson/ Remi Adefarasin BSC 535B

Richard Loncraine Joel RansomLATE NIGHT SHOPPING Late Night Shopping Ltd Saul Metzstein Brian Tufano BSC 535B, 435ESTHE FINAL CURTAIN Young Crossbow Ltd Pat Harkins Oliver Curtis BSC 535, 435ESTHE AFFAIR OF THE NECKLACE Necklace Productions Ltd Charles Shyer Ashley Rowe BSC 535B, 435LORNA DOONE BBC Drama Mike Barker Chris Seager BSC 16SR3

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Foreign DabbingTitle Production Company

BOSSANOVA PPA FilmHOLLOW MAN PPA FilmCIRCUS PPA FilmNOT ONE LESS PPA FilmROAD HOME PPA FilmWHAT PLANET ARE YOU FROM PPA Film

ARRI Lighting Rental M U N I C H

Title Production Company

OCEANMEN H5B5MUMBO JUMBO Firelight EntertainmentTHE MONKEY KING Hallmark Entertainment DAS MÄDCHEN VON NEBENAN Hofmann & VogesHIJACK STORIES Schlemmer FilmUND DAS IST ERST DER ANFANG Schlemmer Film JAHRHUNDERTROMAN BavariaDER SCHUH DES MANITU Herb X VIENNA KinofilmTÖDLICHE GIER Movie EntertainmentPOWDER PARK Columbia TristarKLINIK UNTER PALMEN WTSP.T. ( PERSONAL TRAINER ) EndemolNICHT HEULEN, HUSKY MTMDONNA LEON TPIHIMMLISCHE HELDEN die FilmTATORT von VietinghoffGEIER IM REISRAND TV 60MEIN ABSOLUTES LIEBLINGSLIED TV 60ANWALT ABEL TV 60WÖLFE TV 60

ARRI Sound DabbingTitle Production Company

EINE HANDVOLL GRASS MTM FLASHBACK ClasartVERGISS AMERIKA AvistaL`AMOUR, L`ARGENT,L`AMOUR Philip Groening Filmproduktion HARTE JUNGS Constantin Film SEVEN DAYS TO LIVE Indigo FilmUND DAS IST ERST DER ANFANG Talking Stick / Senator FilmFALLING ROCKS TTD CheckpointTHE CALLING Fanes FilmBERLIN BABYLON S.U.M.O. Film

Key Contacts

Support KameraGünther ZoehD - 89 - 38 09- 1209gzoeh@arri.de

Camera Rental, MunichClemens DanzerD - 89 - 38 09 - 1240cdanzer@arri.de

Lighting Rental, MunichHubertus Prinz von HohenzollernD - 89 - 38 09 - 1345hhohenzollern@arri.de

ARRI TVFranz KrausD - 89 - 38 09 - 1512fkraus@arri.de

ARRI DigitalfilmAngela ReedwischD - 89 - 38 09 - 1574areedwisch@arri.de

ARRI SoundMax Rammler-RogallD - 89 - 38 09 - 1628mrammler-rogall@arri.de

LaboratoryJosef ReidingerD - 89 - 38 09 - 1339jreidinger@arri.de

ARRI GB Ltd.Renos LoukaGB - 2 08 - 8 48 88 81rlouka@arri-gb.com

ARRI MediaAmanda CollettGB - 1 81 - 5 73 22 55acollett@arrimedia.com

ARRI Lighting RentalTim RossGB - 1 81 - 5 61 67 00tross@arrirental.com

ARRIFLEX CorporationFranz WieserUSA - 9 14 - 3 53 14 00fwieser@arri.com

CSC Camera Service Center Hardwrick JohnsonUSA - 2 12 - 7 57 09 06hjohnson@cameraservice.com

ARRI CanadaPenny WatierCDN - 4 16 - 2 55 33 35pwatier@istar.ca

ARRI ItaliaAntonio CazzanigaI - 2 - 26 22 71 75acazzaniga@arri.it

http://www.arri.com

Arnold & Richter Cine Technik Türkenstraße 89D-80799 MünchenTel. D - 89 - 38 09 - 0Fax D - 89 - 38 09 - 1791

Expo Calendar 2000 / 2001

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

16.09. – 18.09.00 cinec München

17.10. – 21.10.00 Broadcast India 2000 Mumbai

07.11. – 10.11.00 Satis Paris

15.11. – 17.11.00 Interbee Chiba

23.04. – 26.04.01 NAB Las Vegas

31.05. – 02.06.01 ShowBiz Expo Los Angeles

26.06. – 29.06.01 Expo Cine Video Television Mexico City

02.11. – 04.11.01 LDI Orlando

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Ltg.), Marita MüllerWith additional text by: Thomas Popp, Marc Shipman-Müller, Franz Wieser, Jürgen Schopper, Clemens Danzer, Wolfgang Wilke, Penny WatierArtwork: Heilig, Schmid/Beisenherz, München Printed by: rapp-druck GmbH, Flintsbach Litho: EDTZ, Ottobrunn

Technical data are subject to change without notice