V for VendettaNight shoot takes over London

The CloudPostproduction at ARRI Film & TV

KankBollywood hits New York

New ProductsARRIFLEX 416 Ultra 16 lensesMaster Zoom

THE DA VINCICODE

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

06/06 ISSUE 2

Interview with DoP Salvatore Totino

AUSTRALIAARRI Australia, Sydney CamerasKate Walton, Bill Ross T +61 2 9855 4300kwalton@arri.com.au bross@arri.com.auAUSTRIAARRI Rental Vienna Cameras Gerhard Giesser T +43 (1)877 6938 18rental.moviecam@aon.atCZECH REPUBLICARRI Rental PragueLighting, GripRobert KeilT +42 023 431 3012rkeil@arri.deGERMANYARRI Rental BerlinCameras, Lighting, GripFritz SammerT +49 30 34680024fsammer@arri.deARRI Rental CologneCamerasStefan WeißT +49 221 170 6724sweiss@arri.deARRI Rental MunichCameras, Digital, Lighting, GripThomas LoherT +49 89 3809 1440tloher@arri.deARRI Film & TV Services, MunichFilm Lab, Digital IntermediateVisual Effects, Sound, Studio,Cinema

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UNITED KINGDOMARRI Lighting Rental, LondonLightingTommy MoranT +44 1895 457 200tmoran@arrirental.comARRI Focus, London Short term lighting hire for commercials & promosMartin Maund, George MartinT +44 1895 810 000martin@arrifocus.comgeorge@arrifocus.com

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USAARRI CSC, New YorkCameras, Digital, Lighting, GripSimon Broad, Hardwrick JohnsonT +1 212 757 0906sbroad@cameraservice.comhjohnson@cameraservice.com

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Illumination Dynamics, North Carolina, Lighting, GripJeff PentekT +1 704 679 9400jeff@illuminationdynamics.com

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ARRI SUBSIDIARIESBULGARIABoyana Film Studios, SofiaCameras, Lighting, GripLazar LazarovT +359 2958 2766director@boyannafilm.bg

CYPRUSSeahorse Films, Nicosia, PaphosCameras, Digital, Lighting, Grip, StudioAndros AchilleosT +357 9967 5013andros@seahorsefilms.com

CZECH REPUBLICDEBRA, PragueCamerasIvan JiranekT+42 022 056 1684ivan@debrarental.com

FRANCEBogard, Paris Cameras, Digital, GripDidier Bogard, Alain GrellierT +33 1 49 33 16 35didier@bogardsa.comalain.grellier@bogardsa.com

GERMANYMaddel’s Camera GmbH,HamburgCameras, GripMatthias NeumannT +49 4066 86390maddel@maddels.com

HUNGARYVision Team, BudapestCameras, Ligthing, GripGabor RajnaT +36 1 433 3911info@visionteam.hu

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IRELANDThe Production Depot,Co Wicklow Cameras, Lighting, GripJohn Leahy, Dave LeahyT +353 1 276 4840john@production-depot.comdave@production-depot.com

NEW ZEALANDCamera Tech, WellingtonCamerasPeter FlemingT +64 4562 8814cameratech@xtra.co.nz

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SOUTH AFRICAMedia Film Service, Cape Town, Johannesburg,Durban, NamibiaCameras, Digital, Lighting, Grip, StudioJannie Van WykT +27 21 511 3300jannie@mediafilmservice.com

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

18THE ART OF ULTRA 16Five new super fast wide-angle primes for Super 16.

19 DID YOU KNOW?

19 TAKE 10

20TELLING STORIES WITH COLOURSDigital or Analogue? DI Symposium 2006.

22KANKDoP Anil Mehta discusses shooting a Bollywoodproduction in New York.

25LIGHTING DARK STREETSLos Angeles sets the scene for period musical.

26DRESDENARRI Film & TV take part in eight months ofpostproduction on one of the most expensiveGerman television productions ever made.

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

33MEDIA FILM SERVICESouth Africa’s leading equipment rental company.

36THE MASTER ZOOMFind out about the ARRI Rental Group’s mostpowerful zoom.

38 ARRI STOPS FORMULA ONE IN ITS TRACKSARRI Film & TV work on time-slice sequences.

40MOMENTS IN TIMEDas Boot and the birth of the IIIC.

44 TIBOR SANDS, A LIFE IN FOCUSARRI CSC reflects on an extraordinary career.

46PRODUCT UPDATE

48 NEWS FROM AROUND THE WORLD

54 PRODUCTION UPDATE

VISIONARRI

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

CONTENTS

4SECRETS BEHIND THE ARTDirector of Photography Salvatore Totino talks about hisexperiences shooting The Da Vinci Code.

8THE CLOUDDirector Gregor Schnitzler and DoP Michael Mieke reflect onputting The Cloud through DI.

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

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SECRETS

BEHIND THE ARTDirector of Photography Salvatore Totino on The Da Vinci Code

VA: This is your third film with Ron Howard.How has the working relationship and theway you communicate developed?

ST: Trust. Trust has developed over that time and ourcommunication has continually evolved. Ron reallylikes to plan, to go over things and come up with agame plan that we review over the course of theshoot, so there’s a constant dialogue. Anunderstanding has grown over the three films. Heknows where I’ll go and how far I’ll go, so there’stimes when he’ll say nothing at all because he truststhat I won’t do anything to hurt the film.

VA: Howard has given you film references asvisual guides on previous projects – how didyou work together to decide upon theguiding principles of your visual approachto Da Vinci?

ST: References were something that we all came upwith together; there’s always films that Ron will say“hey, check this out, check that out”, but generallywith film references it was sort of a collaborativepool; it would be Ron, it would be the Producer, itwould be myself. Certain things in films we’d watchmight remind us of individual portions of our script,though maybe not in a literal way. The visualapproach was something that evolved as we startedprepping. We scouted Paris and a bit of London inJanuary 2005, for filming at the end of June. Thatwas a little preliminary scout; then we came back inApril to scout everything again and over that timeperiod ideas started to develop. It was not a pre-decided or easily defined overall approach, it wassomething that evolved out of location decisions,script revisions, the input of the actors - it was adeveloping idea.

First published in March 2003, The Da Vinci Code by Dan Brown has been aninternational publishing sensation, with sales exceeding 50 million copies to date.The story, which follows symbologist Robert Langdon and cryptographer SophieNeveu on a 20-hour life or death chase across Europe, compellingly mixesreligious and hermetic conspiracy, secret societies, art history and code-breakingwithin a classic suspense thriller structure. Competition to acquire the film rightswas fierce in Hollywood, with Sony’s $6 million bid eventually emergingvictorious. Producer Brian Grazer and Director Ron Howard were brought in bySony to take control of the project; the two have made 15 films together and theircreative partnership is a billion dollar industry. An all star cast was assembled,including Tom Hanks and Audrey Tautou in the lead roles, and Howard turned tothe man who had photographed his last two films (The Missing, Cinderella Man) totransform the written words into moving images.

The production shot in France, England and Scotland, with ARRICAM Studio,ARRICAM Lite, 435 and 235 cameras supplied by ARRI Media, London.

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VA: You’ve said before that “lighting shouldnot stand out on its own, unless you’redoing a very visual piece”. To what degreewas Da Vinci a visual piece?

ST: There are definitely visual moments in it, but youknow, it’s a thriller, so it was important to keep it darkand moody. I took some visual references from thephotographer Brassai; I looked at his oldphotographs of Paris where he had a very bright lightfar in the background and I took a little liberty indoing that in Paris, for certain scenes. Putting a sortof angelic light at the very back of the image.

VA: On Any Given Sunday you used awarmer lighting approach for Al Pacino’scharacter, in order to evoke a sympatheticaudience response. Did you use differentlighting approaches for different characterson this film?

ST: I used different lighting approaches to differentiatelocations rather than characters on this film. The streetsof night-time Paris have a yellow look, created by thesodium vapour lighting and I thought it was veryimportant to keep that true to life. I didn’t put anycharacters in different coloured light, but more theenvironments. For example; the interior of the SwissBank is a blue green colour; very sterile, cold anduninviting. That was something Ron and I discussedbeforehand; we wanted it to feel slightly creepy.�

�DoP SALVATORE TOTINO sits at the camera as Ron Howard directs

�DIRECTOR RON HOWARD with A and B cameras

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

“I USED DIFFERENTLIGHTINGAPPROACHES TODIFFERENTIATELOCATIONSRATHER THANCHARACTERS ONTHIS FILM.”

�

THE DA VINCI CODE

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VA: Can you talk a little about how youutilised the different cameras you had?

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

VA: As with your previous film, you chose touse Cooke S4 lenses on Da Vinci. What is ityou like about them?

ST: I like the sharpness of them, but also the fact thatthey’re not so crisp as say the MK III Super Speeds,which I used to use. I love the narrow depth of fieldand the fall off of the Super Speeds, but working inreally low light – as we did on Da Vinci - it wouldhave been very hard on the Focus Pullers, and I wasalready putting them through enough hell!

VA: You have a tendency to get in amongstthe action as a cameraman in a veryphysical way on your movies, whether thatbe on an American football field (Any GivenSunday) or in a boxing ring (CinderellaMan). Were there opportunities for a similarstyle of shot-making on this film?

ST: The style of shot-making was different to previousfilms; the only similar aspect was that I used at leasttwo cameras on every set-up, sometimes more. It wasa less physical style; I tended to use a jib arm a lotmore on this film whereas Cinderella Man was muchmore hand-held. On Da Vinci we often had onecamera on a jib arm and another on a dolly, alwaysmoving. Whether that movement was very slight andsubtle, or substantial; there was always movement,and always two cameras. It’s a way to keep the daymoving, to get the coverage for Ron, and to ensurethat we’re not all there for 18 hours.

VA: This is the first film you have shot inEurope. How was that experience, and wasit difficult leaving a lot of your regular crewin the States?

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

VISIONARRI

“THE STYLE OFSHOT-MAKINGWAS DIFFERENTTO PREVIOUSFILMS; THE ONLYSIMILAR ASPECTWAS THAT I USEDAT LEAST TWOCAMERAS ONEVERY SET-UP,SOMETIMESMORE.”

months before shooting, which was a first for me. InEngland we had the best crew I ever worked withanywhere in the world – fantastic – incredible FocusPullers, great Gaffer, great Grip. And I’ve worked inNew Zealand, Australia, South America, all overAmerica, Canada, Mexico, Greece, Italy, France andSpain. The English crew were incredible; I wish Icould have taken them home with me. The FocusPullers John Conroy and Simon Hume were the oneswho were really under the gun. John was on ‘A’camera with my Operator, and Simon was with me,and we developed a great relationship; he wascontributing in a tremendous fashion. A lot of the timeI was setting up lights and running to and from thecamera during rehearsals, but Simon had more timeto think about certain images and he came up withsome really great ideas.

VA: You had the challenge of shooting inLincoln cathedral, which doubles forWestminster cathedral in the film. How didyou approach lighting such an enormouslocation interior?

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

without delays. We had to come up with a gameplan that would control the sun, allow me to light theinterior in a consistent fashion and not restrict us. Thesolution was a series of black-outs on high windowsand lower stained glass windows, and a sort ofcurtain system, so we could lower black-out materialto keep the sun out and put up our lighting.Unfortunately the ground all around the cathedral isnot sufficiently stable to support cherry pickersbecause of the catacombs and cellars, so we neededextra time to build scaffolding and in the end itlooked like it was under construction for a rebuild.

VA: The film was put through a DigitalIntermediate process in post. What are yourexperiences and thoughts regarding DI?

ST: I’ve used the same Colourist at EFILM inHollywood for the DI on three films and it’s a reallyimportant working relationship for me. I like to bethere for the grading, and the reason is that on theday of filming, I might forego doing something on setfor the sake of saving time if I know that it will beeasy and quick to take care of it afterwards. It’s anadded paintbrush, and it’s something to embrace. Ican see why some cinematographers are cautiousabout DI, because they’re worried that they mighteasily lose control; that someone from the studiomight go into the grade and not like the way it’slooking, and actually change it. Well, I think youhave to trust your relationship with the Director andbelieve that he won’t let that happen. �

Mark Hope-Jones7

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Director Gregor Schnitzler (What to do in case of fire?, Soloalbum) picks up the controversial topicof atomic energy in the feature film The Cloud,based on Gudrun Pausewang’s bestseller by thesame name. The story focuses on two young adultswho have to leave their hometown because of anuclear meltdown, finding hope in their love foreach other during their struggle to survive.

The film was shot on 35mm Kodak NegativeVision2 (100T, 200T, 500T and 250D) using 3-perforation cameras from ARRI Rental Munich,including two ARRICAM Lites, an ARRIFLEX 235and ARRIFLEX 435, as well as a complete set ofCooke S4 lenses (14mm-135mm). “During theentire project we had the full support of ARRI andits fantastic and highly qualified employees –throughout the shoot in particular, from ARRI Rentaland Managing Director, Thomas Loher, and fromTechnical Director Manfred Jahn,” says DP MichaelMieke. “Not least because of that, the entire shoot,and the following postproduction at ARRI in Munichwent smoothly without a problem.” continuesproducer Markus Zimmer.

Storytelling with ColoursColours play a central role in the film and wereselected as a stylistic tool, to communicate thecarefree feeling of life before the disaster and theoppressive, claustrophobic situation afterwards. Forthe Producers, the Director and the DP it was clearfrom the beginning, even in the planning stages,that the entire film was to be put through DigitalIntermediate (DI). One of the reasons forproceeding digitally was the advantage of betterintegration of the VFX shots, in this case thethreatening nuclear clouds, which had to beanimated in 3D and inserted into the film.

“I consciously worked with specific colours andcontrasts which became increasingly softer orstronger. For the beginning of the film we usedstronger colours; the young adults wear yellow,orange and light blue. After the catastrophe, thecolours are reduced to black, blue and red. Theentire look, therefore, had to be optimally realizedwith the help of colour timing in Lustre,” explainsDirector Gregor Schnitzler.

THE CLOUDDisaster strikes as a murderousblack cloud threatens millions ofpeople with radioactive falloutafter a meltdown at a nuclearpower plant. The fear and panicamong the population, the liesand attempts at deception frompoliticians are all portrayed in astory reminiscent of the nuclearreactor catastrophe in Chernobyl20 years ago.

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�ON LOCATION during shooting of The Cloud

�DIRECTOR GREGOR SCHNITZLER and DoP Michael Mieke

The concept was for the camerawork to be inconspicuous andto have a strong touch of realism, with the look fullydetermined by dramatic composition. The creative approachin the film follows the natural light, as the clouds darken thesky and the earth underneath. This makes for a discreet,almost unnoticeable, creeping change of light, therebycreating the mood. In the film this is symbolized by the timeafter the nuclear accident.” says Gregor Schnitzler andMichael Mieke.

“We shot mostly in Bavaria with gorgeous sunshine, under analmost constantly blue sky. But the story is set in Hesse andtherefore the Alps, which in some cases could be seen in thebackground, had to be eliminated during DI and the blue skyhad to be replaced with dark, threatening clouds. Wegenerated the gloomy look and the outdoor threat after themeltdown entirely in the postproduction process throughdigital colour grading. Because the film is very naturalistic,those qualities could under no circumstances jump out, whichwe accomplished exceptionally well,” says Gregor Schnitzler.

The different formats for subsequent TV and DVD exploitationwere an additional argument for utilizing the digital route.Accordingly, the HDTV mastering for the formats 1:2, 35 and1:1,78 was carried out at ARRI.�

“WE COULD PRE-VISUALIZE THELOOK AND VIEW ITON THE BIG SCREENIN THE LUSTRE SUITEAND IMMEDIATELYSEE THE FILM THESAME WAY ITWOULD LATER BESEEN IN THEATRES.”

THE CLOUD

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Digital Colour Ttiming in the Lustre CinemaThe artistic and creative elements were optimallyrealized at ARRI Film & TV, where, as part ofpostproduction, the colour timing and the digitalintermediate process of The Cloud took place.Traudl Nicholson completed the digital grading on ARRI’s Lustre Master Station, under movietheatre conditions.

“We discussed various suggestions about how toaccomplish the change of the natural colours. Withthe support of ARRI we also had the chance to tryvarious approaches – meaning we could pre-visualize the look and view it on the big screen inthe Lustre Suite and immediately see the film thesame way it would later be seen in theatres,” saysMichael Mieke and Gregor Schnitzler. “We werealso told that digital colour timing on a monitorholds no comparison to working on the big screenat ARRI.”

“It was great, the communication and therelationship between us and our Colourist inregards to the expectations and demands on thelook of the film, worked out very well. With thehelp of reference pictures and scenes, which werepre-selected jointly, Colourist Traudl Nicholsoncould continue the colour timing on her own. Thisway, we were able to work quickly and efficiently.”concludes Philip Hahn, ARRI’s DI Producer &Supervisor on The Cloud, who not only co-ordinated the colour grading, but also theintegration of the visual effects and the animationof the opening and closing credits created byARRI’s Title Designer Lutz Lemke.

“Lustre is simply ideal, to be able to realize thedramatic composition of colour in a film like The Cloud and to fully control it. It workedperfectly, the result is impressive.” all agreed. “The analogue process of colour timing or working‘in camera’ – i.e. with various filters – would haveinvolved incredible effort and would not have been as successfully accomplished.” explainsMichael Mieke.

The Principle of Digital Colour TimingFirst of all, one has to compile colour referencesfrom individual scenes of the film and thendetermine the colour timing for them. The colourcorrected scenes are then recorded onto 35mm filmwith the ARRILASER film recorder and a coloursample is created. A test in the ARRI cinema willthen show if there are differences on the film copyto the version created in the Lustre suite. Differencescan be adjusted if necessary. Then the Colouristpre-grades the entire film to steer it in the desireddirection. Then, in individual steps, the film can begradually worked through until its final version isreached. Filter and masks can be applied to workwith partial and with secondary colour correction.

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

Shooting the Film Again in the DI Processand Taking Better Care on Set“The look, as it is known from the advertisingworld, is finalized at a later time in the DI process.During the work on the Lustre and the resulting,almost endless, possibilities of colour separation,the film is, in a way, shot again.” says MichaelMieke, going on to explain: “But, despite all this, it is important that during filming of the scenery,colour concepts etc. work. Because there is nogenerational loss during the scan and thedigitalization, which would alleviate little mistakes,as was the case in analogue processing. Hereeverything is and stays pin-sharp. Therefore, thedemands on the camera department, most of all theFirst Assistant, have increased significantly becausethe DI process and the scan are unforgiving when it comes to blurriness and mistakes. One has to usestate-of-the-art lenses. Older equipment fails in thiscase – not least because of the film material, which has improved enormously in recent yearsand has adapted to the new digital demands in postproduction.”

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Teamwork in All Areas“ARRI’s teamwork is always exceptional in all areas, becauseARRI is extremely focused on customer satisfaction. For me, itwas fantastic to grade a film on the Lustre. One walks into asuite for the first time and sees an image that is digital butlooks, nevertheless, like a film image. It is simply incredible!You sit in a small theatre and can stop images and optimallycolour time them. For me, as a Director, this was a new andfantastic experience. I ventured into territories here that wereunknown to me until then.” says Director Gregor Schnitzler. “It is a lengthy process, because it simply takes longer tocolour time a film this way, but it was great fun. And mostimportantly, the result is incredible.”

In the future the Director and the DP of The Cloud want tocontinue, if possible, to work on the Lustre. “It is thetechnology of the present – these days you can’t even call it‘of the future’ anymore. We would want to do it this way allover again – and especially on the big screen again!”

Gregor Schnitzler was an ARRI customer with his previousfilms, What to do in case of fire? and Soloalbum. Heconcludes, “It is always my desire to work with ARRI, becausemany competent people work there, who take their workseriously and who love film. One can discuss questions on thehighest level in a sophisticated manner, and there is awillingness to try things out, i.e. to approach a particular look

step-by-step. I have only experienced this at ARRI. I am notexaggerating, but at ARRI there is always the desire to havethe best – meaning the best people with the best technology,because the employees have a true passion for film and areeager to ensure that the results are good. And that is just greatand it is really hard to find.” �

Jochen Hähnel

Gregor Schnitzler, Director

Marco Kreuzpaintner, Writer

Markus Zimmer, Clasart Film, Producer

Michael Mieke, DP

Concorde Filmverleih, Distribution

Traudl Nicholson, DI Grading

Philip Hahn, DI Producer

Lutz Lemke, Title Design

Bianca Stumpf, Colour Timing Film Laboratory

He cautions, as many of his colleagues have before, not tolook at the DI process as a cheap repair shop, “Whoeverbelieves that everything can be fixed in post and that allmistakes made on set can be ironed out is wrong. A lot, butnot everything is possible – out of focus shots can not be pulledinto focus during DI, even if all the colours are being turnedaround.” The DP and Director agree. “Also, one doesn’t wantto sit through the DI process only to fix scenery and to correctfocus mistakes on the Lustre, instead one wants to determine thecolour and look and to work creatively! After all, this is avaluable and very expensive time for a production,” the twopointed out.

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THE BRIGHT LIGHTS OF LONDONLondon landmarks feature in V for Vendetta

The London skyline was never brighter than when Director James McTieguedirected the recently released Warner Brothers movie V for Vendetta.

Set against the futuristic landscape of totalitarian Britain V forVendetta tells the story of mild mannered young woman, Evey(Natalie Portman - Star Wars, Episodes I-III & Closer) who isrescued from a life threatening situation by the maskedvigilante known only as “V” (Hugo Weaving - The Matrixand Lord of the Rings Trilogy).

Created and produced by Joel Silver and the WachowskiBrothers, the film’s main character “V” ignites a revolution

when he detonates two London landmarks and takes over thegovernment controlled airwaves, urging his fellow citizens torise up against the tyranny and oppression.

The screenplay is based on the acclaimed graphic novel of the same name by Alan Moore and is a UK / German co-production between Warner Bros Productions Ltd and Fünfte Babelsberg Film GmbH filmed on location in Berlin and London.

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Although the majority of the film shot in Berlin, an eight dayshoot took place at some of the most prestigious landmarksaround London, such as Trafalgar Square, Whitehall,Parliament Square and Hatfield House. The shooting schedulesaw one of the largest and logistically challenging filmingoperations that London has ever seen.

Director of Photography Adrian Biddle BSC, with over twenty-five feature films to his name (Aliens, Thelma and Louise,1492: Conquest of Paradise, The Mummy, The World Is NotEnough) had a vision of how he wanted the piece to look.

“We tried to have a fairly dark look that came from theoriginal comic book and reflected the dark subject of revengeand retribution and a certain kind of justice. As always thereis collaboration between the costume design, make-up, thecolour of the set and the lighting and you have to keep thesein mind when you decide on the approach.”

ARRI Media supplied the cameras including ARRICAM Studiosand Lites. Adrian commented, “I found the cameras veryadaptable and reliable, especially features like the swing-overeyepiece which came in very handy, we had a whole rangeof toys but did little steadicam and mostly stayed with dollyand crane work. The fire scene was a little tricky but if youknow what you’re doing it’s not a problem.”

Security was tight during the packed eight day schedule withroad closures kept to a minimum number of hours in order notto disrupt the capital. Added to that was the fact that allscenes were to be shot at night, during the summer that meantthat the shooting time was limited to about four and a halfhours before sunrise. Timing was crucial.

Adrian explained. “It is only possible to shoot such scenes asthese if you have a very experienced crew. You have to lightby instinct and trust each other as the time you are allotted isso small. I was lucky enough to have two very good andexperienced Gaffers, Albrecht Silberberger in Germany andKevin Day in London.”

Gaffer Kevin Day and Rigging Gaffer Pat Miller have knowneach other for eighteen years, collaborating on features suchas Bridget Jones, the Edge of Reason, Reign of Fire andShanghai Knights (UK) to name only a few.

Not unaccustomed to working on large feature films, thelighting and the rigging had to be well planned in order to runsmoothly due to the sheer size of the shoot. With over fivehundred extras, eighty Electricians and ninety security staff, anhour to rig and the limited allotted time to shoot the scene, thelighting department had to ensure that they were organisedand ready for all eventualities.

Kevin explained: ”A production of this size and complexitymeans that there is a lot of preparation to make sureeverything goes to plan. The planning took some time but oneach night when it mattered it went like clockwork.”

The road closures didn’t happen each night until just beforemidnight with strict instructions from the local authorities tohave all areas cleared by 4.30am. This meant that thewindow of opportunity for the shoot was minimal and therewas no room for error.

Kevin continued, “We liaised very closely with the localauthorities such as the Metropolitan Police and WestminsterCity Council who were informed of our plans every step of the way.”

Pat Miller explained the finer details of the planning, “Thenight we shot the scene at Trafalgar Square we had to ensurethat we were fully prepared, a strategy was put in place priorto the shoot. We had to run it like a military campaign.

Battersea power station became the holding centre for thelighting equipment, all lighting crews were then given theirfinal briefing before travelling to the location. There weretwelve generators and ten cherry pickers (pre-rigged) allnumbered, each one containing two and sometimes three ARRI 18Kw HMI lamps. With a Charge Hand a team ofElectricians, a Rigger, Gennie Operator and Crane Driverallocated to each one, each team had their own supply ofspares including lamps, ballasts filter etc, to ensure they wereself-sufficient and ready for any eventuality.”

Lighting and distribution was supplied by ARRI Lighting Rentaland to those standing by, the site of the ten cherry pickers withtheir cargo lit, slowly rising from the behind the landmarkbuildings made quite a spectacle. One on-looker said itlooked less like a film-set and more like the invasion scenefrom War of the Worlds!

Pat continued, “All the mains distribution was cross-linked sothat at any given moment we could turn off the power toreduce the sound near the cameras and the supply could comefrom another generator further away, out of ear shot.”

Tommy Moran, Managing Director of ARRI Lighting Rental,concluded: “As an ex–Gaffer I was most impressed with KevinDay and Pat Miller and their crew and the enormous amountof skill they showed in the planning and co-ordination on thisproject. With the time constraints, high security aspect and thelogistical challenges they faced, their professionalism ensuredthe shoot went without a hitch.”

This article is dedicated to the memory of Director ofPhotography, Adrian Biddle BSC. �

Judith Petty

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

14

“When many are talking about the great digital trend,” saysFranz Kraus, General Manager of the ARRI Group, “somecompanies have perceived a kind of counter-trend in the lastyears. 35mm film is as strong as ever, but we have also seenan increased use of Super 16mm film. Kodak has reported acontinued high volume of Super 16 sales, while showingincreases in some markets, and our rental facilities tell us thattheir 16mm cameras are constantly working. The reason issimple: Super 16 is a high quality, low cost originationmedium. The equipment is small, robust and provides a greatnumber of creative options. Film has inherently ‘the film look’,a dynamic range in excess of 16 stops and is also a globalstandard that can be archived well into the future.”

Marc Shipman-Mueller, ARRI’s ProductManager for Film Cameras and Lenses,adds: “Various technological advancesin the last years have improved theimage quality of Super 16tremendously: there have been new filmstocks, new telecines, new scanners,new lenses and, of course, the DigitalIntermediate (DI). We have seenproducers take advantage of thesedevelopments in two ways: first, Super16 is a great image capture mediumwhen shooting for SD (standard

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

15

VISIONARRI

definition) or HD (high definition) broadcast. And second,independent features have shot on Super 16 and gone DI,which gives them the option to create a high quality 35mmrelease print. As a result, for some years nowcinematographers have asked us to update the 16SR 3 withthe features they use daily on our 35mm cameras.”

The result is the ARRIFLEX 416, a lightweight modern Super 16 film camera with a 35-style viewfinder and a sound level similar to that of the ARRICAM. The 416 has acompletely new lightweight ergonomic design, integratedelectronic accessories and is compatible with the same lensesand accessories used by its 35mm siblings. It runs from 1 to 75 fps, and has a manually adjustable mirror shutter from 45 to 180 degrees.

The 416 ViewfinderThe 416 viewfinder optics have been re-designed toincorporate fewer lens elements of a higher quality and ashorter optical path. The result is a brighter image withsignificantly higher contrast and higher resolution, so judgingfocus on set will be a lot easier.

The viewfinder ergonomics are based on the ARRIFLEX 235viewfinder, incorporating the same freedom of movement andfeatures. With its large exit pupil, the 416 viewfinder providesthe operator with more freedom to move without losing theimage - a great advantage when operating hand-held orshooting action sequences. In contrast to its predecessor, the 416 accepts almost all of the large diameter 35 formatprimes, including the new Master Primes, because itsviewfinder is located higher above the lens mount.

A new RGB ARRIGLOW has been built into the 416viewfinder, so you can choose any colour you like. Choosemagenta framelines when shooting green screen, red forjungle, yellow for blue skies.

The 416 viewfinder is accompanied by a video assist that hasthe same image quality and features as the ARRICAM videoassist, with the addition of some added benefits such as colourbars, adjustable electronic image enhancement and manualwhite balance. Using the same optical layout already provenin the ARRIFLEX 235, the viewfinder and video assist areindependent of each other. This makes a switch from hand-held to Steadicam quick and eliminates the need for a 100%video top. Additionally, two 12V accessory outputs on thevideo assist can power an on-board monitor and a videotransmitter at the same time.

Sound DesignThe 416 uses a completely new sound insulation design thatmakes it as quiet as the ARRICAM. An outer shell contains aninner skeleton that is suspended by symmetrically positionedrubber insulators. The camera’s movement and other parts,which create vibrations that cause unwanted sound, aremounted to the inner skeleton. The insulators prevent anysound from the inner skeleton reaching the outer shell. Thesymmetrical positioning of the insulators ensures that the flangefocal distance stays constant so there is no change in depthfrom heat or cold.

A brushless silent torque motor powers the 416 magazine, so there is no noisy mechanical linkage between camera andmagazine. And just like the camera, the magazine consists of an outer shell with inner skeleton separated by rubberinsulators, making it the quietest 16mm magazine ever built.�

THE POWER OF 416

16

Ergonomic FlexibilityCinematographers and producers choose to shoot in Super 16because of the flexibility provided by smaller and lighterequipment. One of ARRI’s goals has been to further increaseportability, while providing many of the features crews havecome to expect from 35mm cameras.

The weight of the 416 has been reduced by an amazing 25%in comparison to the 16SR 3 Advanced, when comparing aconfiguration including body, viewfinder, IVS and magazine.Its shape has been completely redesigned to make it smallerand to give it a lower profile, while providing a cut out that fitssnugly on the shoulder. To avoid all the clutter of extra boxesand cables that tend to hang off the camera, the video assist,lens motor drivers and a wireless radio can be integrateddirectly into the camera body – the camera then becomes anARRIFLEX 416 Plus.

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

LensesAlmost all PL mount lenses for the Super 16 and 35mm formatscan be used on the 416, including the high-speed, highquality Master Primes and the Ultra Primes.

In addition, five brand new T1.3 prime lenses have beendeveloped specifically for the Super 16 format: the Ultra 16lenses. With focal lengths of 6, 8, 9.5, 12 and 14 mm theUltra 16 lenses further extend the Ultra Prime family. The Ultra16 lenses are a perfect match for the 416; they exhibit thesame resistance to flare as the Master Primes and giveunprecedented image quality even when opened to theirmaximum aperture of T1.3.

Control & PowerThe 416 control panel should be familiar to anyone who hasever worked with a modern ARRI camera. The 416 hasinherited the control panel design and illuminated buttons of the235, so the camera can be operated without further training.

The new, powerful and smart Lithium-ion on-board battery OBB-2 can run up to five magazines while keeping cameraand video assist in standby for more than 2 hours. With a built-in power gauge the state of an OBB-2 can be quicklydetermined, and since the OBB-2 communicates with thecamera, the 416 can accurately display its current voltage,remaining capacity or how many more magazines the battery’scharge can run.

The 416 Camera SystemThe 416 is compatible with an extensive range of new andexisting ARRI accessories that follow the same design philosophyused in the creation of 416 body and magazines: increasingefficiency on the set. Two new handles have been designed, onefor normal and one for remote use. These include such details asa flip-up tape hook and different height platforms for Steadicamor for under-slinging the 416 on a remote head. Like the 235,the 416 has extra 3/8” attachment points with location pin holesfor twist free attachment of accessories or extra secure rigging. �

First Reactions

“It’s great that a companylike ARRI, which is on theforefront of digitaltechnology with the D-20,still recognizes howvaluable film is with the416 camera. This is aterrific new product forfilmmaking and for indiefilms, this is huge.”

DoP Woody Omens, ASC

“Saw the demo atNAB2006. It’s a littlesmaller than the SR 3, butbe prepared to drool overthe viewing system....that’s the big sell, and theARRIGLOW even changescolour, just in case youcouldn’t see your framebefore when shooting that“red” scene...”

DoP James WestFrom a discussion group on Cinematography.com

The Quietest 16 mm CameraSound less than 20 dB(A)

35-style ViewfinderBrighter, higher contrast, higher resolutionBigger exit pupil allows more eyemovementMulti-colour RGB ARRIGLOWAccommodates even wide diameter PL mount lensesExcellent optical quality with eyepieceextension

High Quality Video AssistImproved image qualityAdjustable electronic image enhancement2x 12V accessory power outputs

Compact & LightweightSmall camera bodyLow profile design25% lighter than 16SR 3

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

Main Features at a Glance

VISIONARRI

416 Plus 416 16SR 3 Advanced HS

Speed Range (fps) 1-75 1-75 5-150Shutter Angle 45-180° 45-180° 45-180°150 Degree Shutter Yes Yes NoAngle (1)

Sound (dBA) <20 <20 <29Weight (kg/lbs) (2) 5.7 / 12.6 5.5 / 12.1 7.8 / 17.2Viewfinder Quality +++ +++ +Viewfinder Handling +++ +++ +Viewfinder & Video Independent Yes Yes No

ARRIGLOW Multi-colour Multi-colour RedIntegrated Video Yes Yes NoAssistVideo Assist Quality +++ +++ +Video Image Yes Yes NoEnhancementIntegrated Accessory Yes No NoElectronicsLens Data Display Yes No NoPlug (3)

Timecode Yes Yes YesMagazine Loads 120/400 120/400 120/400 & (m/ft) (4) 240/800

(1) For 25fps shooting with HMI, fluorescent and mercury vapor lights in 60Hz countries

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

“Having played with the camera forabout thirty minutes I can say thatit is noticeably lighter than the SR,fits your shoulder quite nicely, hasa great viewfinder, is practicallynoiseless, and loads as simply asmy old SR.”

DoP Tim CarrollFrom a discussion group on Cinematography.com

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16mm ProductRange

18

The Ultra 16 lenses and Ultra Primeshave exactly the same lens rings for fullmechanical compatibility. The Ultra 16lens scales are distinctly colour coded inorder to avoid confusing the differentlens types and have yellow scales forfocus and aperture, while the UltraPrimes traditionally have white scales.The Ultra 16 lenses also have a bluering next to the PL-mount, while the Ultra Prime barrel is completely black. �

Five Super Fast Wide-angle Primes for Super 16The Ultra 16 lenses have the new ZeissT* XP multi-layer, anti-reflection lenscoating, which provides greaterresistance to flares and ghosting, aswell as improved contrast. The lenseshave an exceptional resolution, truecolour fidelity and their optical quality ismaintained over the whole image fieldand across the entire focus range.

The colour balance of the Ultra 16lenses is Super Colour Matched to otherARRI Zeiss lenses, including the UltraPrimes, Master Primes, Variable Primes,Master Zoom and the Lightweight ZoomLWZ-1. Consequently, they can beeasily mixed with the longer focallengths of the 35 format Ultra Primes.The advantage of using the Ultra 16lenses and adding Ultra Primes, startingwith a 16 mm Ultra Prime, is that justone matte box is required as the Ultra16 lenses and the Ultra Primes from 16 to 135 mm have the same frontdiameter of 95 mm.

The introduction of the ARRIFLEX 416also brings with it five brand new primelenses that have been developedspecifically for the Super 16 format, theUltra 16 lenses. The new Ultra 16 lensset consists of five high-speed primeswith focal lengths of 6, 8, 9.5, 12 and14 mm. All cover the full Super 16format and match the optical qualityand ergonomics of existing ARRI ZeissUltra Prime lenses.

Much of the design of the Ultra 16lenses is based on research carried outfor the creation of the Master Primes.One of the outstanding features of thesenew lenses, unmatched by any otherlens manufacturer, is the fact that theUltra 16 lenses are super fast at T1.3,while showing excellent optical qualityover the whole T-stop range. In addition,T1.3 allows for the creation of ashallow depth-of-field, a look that isinherent in the Super 35 format, andoften sought after in other formats.

VISIONARRI

19

Did youknow?

Dianne KoronkiewiczAssistant Camera Person

1 What film first inspired you to work in this industry?Fellini´s La Strada. The perfect combination of energy and chaos.

2 What’s your cure for the ‘morning after the wrap party’ feeling?Late night cigar bars.

3 Name three things that make you smile?Fine wine, good cheese, spicy sopressata in good company,& progressive techno, preferably somewhere in the tropics bythe sea.

4 What was the first car you ever owned?A gas guzzling, metallic green, 1972 Plymouth Valiant.

5 What’s the one thing you can’t live without?Two things in fact, Italian boots and Negroni beer.

6 If your life was a film, what film would it be and why?Predator meets Afterhours, a blend of the jungle and the city.

7 Most embarrassing moment?While on location in Manuel Antonio, having the crew tell methe second week of shooting that they enjoyed the old, redstring bikini more than the new, more sporty ones I hadsomeone make especially to work in.

8 Who inspires you?Fritjof Capra, a physicist who has written about the parallelsbetween ancient traditions and 20th Century physics.

9 Three people (living or dead) you’d most like todine with?Natalie Wood, Sander Kleinenberg and Fidel Castro.

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

Diane thrives in the cement jungle of New York city workingon movies and commercials, but to balance her life shelikes nothing better than disappearing into the tropical rainforests of central America to escape from it all.

Diane is currently working on her suntan. Her other mostrecent credits are Jonathan Demme’s concert feature filmNeil Young: Heart of Gold and multiple televisioncommercials.

Take

10The Agony and the Ecstasy 1965Directed by Sir Carol Reed (The Third Man, Odd Man Out),this adaptation of the identically titled biographical novel wasshot in both Todd-AO and Cinemascope.Charlton Heston pushed a steel rod up his nose to make itresemble Michelangelo’s broken proboscis, while RexHarrison refused even to grow a beard for his portrayal ofPope Julius II, who was the first unshaven Pontiff.

The Thomas Crown Affair 1999The Claude Monet paintings featured in the film: ‘San GiorgioMaggiore at Dusk’ and ‘Wheatstacks’, are not actuallyowned or displayed by the Metropolitan Museum of Art inNew York. ‘San Giorgio Maggiore at dusk’ was bequeathedto the National Museum and Art Gallery, Cardiff, Wales in1952 and forms part of their permanent collection.‘Wheatstacks’ is in the Getty Museum in Los Angeles. The painting of a man wearing a dark suit and bowler hat,with an apple covering his face, is entitled ‘Son of Man’, and was painted by Rene Magritte in 1964.

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

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

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

Many of the locations used for filming were places Van Goghreally visited in his life.

The colour process used for the film(Ansco Color, but labelled in the creditsas Metrocolor) uses dyes that haveproved to fade more rapidly than thoseused in other processes. Subsequently,many prints have lost the vivid colourpalette of the movie’s original images.

Anthony Quinn’s performance as PaulGaugin is reputedly the shortest ever towin an Oscar. He is on screen foraround 10 minutes.

20

DI Symposium 2006 in the ARRI Cinema

Telling Stories With ColoursDigital or Analogue

The following questions were addressedby ARRI experts and discussed with the audience:

When and where does digital colourtiming make sense?What creative possibilities does DI offer?What are the pros and cons?What are the differences to colourtiming in an analogue film laboratory?What is the cost-benefit ratio of the twotypes of processing?D-20: When is the use of digitalcameras appropriate?

The event was moderated by Angela Reedwisch, Key AccountManager of ARRI Film & TV. She alsolectured, as part of the DI symposium,on prices – meaning the cost-benefitratio of the two postproductionprocesses, using a 90-minute featurefilm as an example.

But first ARRI’s General Manager, Franz Kraus, welcomed the guests to theevent and provided an outlook ongeneral developments and issues thatare emerging in the international filmbusiness, not just those related todigitalization. He reported on thetechnical redesign of the D-20, ARRI’sdigital film-style camera, of which 20additional units are currently beingmanufactured for worldwide rentalthrough the ARRI Rental Group.

The Head of the Film Laboratories, Josef ‘Sepp’ Reidinger, moved thediscussion on to practicalities; initiallyexploring the traditional photo-chemicalroute and the diverse creativepossibilities of analogue colour timing,as well as how various particularprocesses can create unusual andinteresting looks. Furthermore, heexplained how analogue processing inthe film laboratory and digital colourtiming can be combined. “To achievethat, Lustre from Autodesk is the idealtool to digitally complement and refinethe already existing look from analoguegrading. With Lustre one has almostendless creative and technical

ARRI Film & TV, as part of its schedule ofregular informative events, co-hosted a‘Digital Intermediate’ symposium with theGerman Society of Cinematographers (Bundesverband Kamera (bvk)) on March11th, 2006 at its in-house ARRI cinema inMunich/Schwabing.

“Telling stories with colours – digital or analogue” was themotto of the practice-oriented discussion of colour timing. ARRIFilm & TV experts illustrated the various possible workflows inlectures and presentations with clips from current films. Thepros and cons of Digital Intermediate (DI) and traditionalanalogue colour timing in the film laboratory were examined.The creative, artistic, aesthetic and financial rather thantechnical aspects were the focus of the event.

�TRISTAN & ISOLDE,a Scott Free Production

THE ROBBER HOTZENPLOTZ,a Collina Film Production

�ES IST EIN ELCHENTSPRUNGEN, a SAM Film Production

�

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VISIONARRI

composition possibilities,” commented ARRI Colourist TraudlNicholson, who has extensive experience in analogue as wellas digital colour timing. Josef Reidinger and Traudl Nicholsonillustrated and commented on these issues with the help ofclips from the following films: Der Neunte Tag (Prod: Provobis,Dir: Volker Schlöndorff, DP: Tomas Erhart), NVA (Prod: BojeBuck, Dir: Leander Haußmann, DP: Frank Griebe) as well asDer die Tollkirschen Ausgräbt, a black and white film (Prod: XFilme Creative Pool, Dir: Franka Potente, DP: Frank Griebe). “Itis our goal to maintain the classical film look, even if a digitalroute is chosen for film finishing,” reassured Josef Reidinger.

Afterwards, Rainer Schmidt, an experienced and seasonedARRI Colourist, and Florian ‘Utsi’ Martin, a digital LustreColourist, discussed the colour grading on Organize Isler(Prod: BKM, Dir: Yilmaz Erdogan, DP: Ugur Icbak) and Tristan& Isolde (Prod: 20th Century Fox / Ridley Scott, Dir: KevinReynolds, DP: Artur Reinhart).

The following films were used as additional highly instructiveexamples to illustrate modern colour timing: Requiem(Prod: 23/5 Filmproduktion, Dir: Hans-Christian Schmid, DP: Bogumil Godfrejów), Die Wolke (Prod: Clasart Film, Dir: Gregor Schnitzler, DP: Michael Mieke), Reine Formsache(Prod: Independent Players, Dir: Ralf Hüttner, DP: HannesHubach), Der Räuber Hotzenplotz (Prod: Collina Film, Dir & DP: Gernot Roll), Es ist ein Elch entsprungen (Prod: SAMFilm, Dir: Ben Verbong, DP: Jan Fehse) as well as Der Fischerund seine Frau (Prod: Constantin, Dir: Doris Dörrie, DP: Rainer Klausmann).

Afterwards, Markus Kirsch, Department Head of TVPostproduction at ARRI Film & TV, spoke about the state ofHDTV and its future in television. As an example, thesuccessful and multiple award-winning documentary DieGroße Stille (Prod: Philip Gröning Filmproduktion, Dir & DP:Philip Gröning) followed. The film was mostly shot on 24PHDCam and was colour corrected and colour timed at ARRI.Henning Rädlein, Head of ARRI Digital Film, discussed amongother things the HD tape-to-tape colour grading on Pogle OiXiand the recording with the ARRILASER onto 35mm, as well asthe making of the release print in the film laboratories.Producer Jörg Schulze and Colourist Stefan Ciupek, who werein the audience, reported on stage about the shoot and thecomplications it faced, the linking of postproduction and thelocation shoot, as well as the colour grading itself, which wasdone at ARRI by Stefan Andermann.

After lunch, Henning Rädlein ran through the individual stepsof the Digital Intermediate workflow and high resolution digitalwork environment within postproduction – from the shootingmedium to the data file. He discussed all possible processingsteps such as colour grading, the seamless integration of VFXshots, titles and the mixing of various recording formats, alsothe exploitation for TV and DVD and finally recording with theARRILASER onto 35mm film stock.

He pointed out, in reference to increasing digitalization, therelevance of digital score masters for distribution in digitaltheatres: “It will become more and more important to finish theentire film digitally, because when the digital theatre becomesa reality, which will sooner or later be the case, digitalfinishing will be a necessity, due to the fact that only digitalinformation can be projected in digital theatres.”

ARRI offers its customers two alternatives for digital colourtiming - the more cost-effective colour correction on the so-called ‘RGB’ Lustre grading station; for primary colour timing,and the ‘Deluxe Version’ on the big Lustre master station; withsecondary grading. Digital colour timing can now be carriedout, even in the more cost-effective primary RGB suite, underconditions similar to a theatre - on a large screen and with 2Kprojection. Opticals (i.e. dissolves, motion events, frameduplications etc.) will continue to be digitally processed withthe primary version of the Discreet Lustre in connection withthe ARRISCAN.

Henning Rädlein also pointed out in his lecture the importanceof analogue material for film archiving purposes. Hecommented: “In the U.S. most big films are being archivedanalogue, because digital storing is simply too insecure andtherefore too dangerous. For that reason, we stronglyencourage all our customers to have their film negativerecorded multiple times. Kodak, for example, estimates alifetime of 100 years for its material.”

Finally, Prof. Jürgen Schopper, Creative Director & VFXSupervisor at ARRI Film & TV, made a clear and informedpresentation - with the help of clips from Der RäuberHotzenplotz - about the many visual effects (VFX) and creativetasks ARRI completed during the digital postproduction of thissuccessful children’s movie.

To sum up the conclusions of the DI event at ARRI, it can besaid that there isn’t one clearly superior process in either theshooting stage or the postproduction stage of filmmaking. Thetechnical processes and the creative possibilities constantlydevelop and will continue to evolve. “It will therefore continueto be an art to select the appropriate formats for recordingand film finishing for individual projects. These choices involveaesthetic, technical and economic parameters, which all haveto be considered and fulfilled. Producers and Directorstherefore face certain demands; we, as service providers, offer the technical products and as a service to our customers,make the necessary know-how available”, concluded Franz Kraus, General Manager of the ARRI Group. �

Jochen Hähnel

�THE ARRI TEAM, Utsi Martin, Josef Reidinger, Traudl Nicholson, Henning Rädlein, Angela Reedwisch, Rainer Schmidt, Jürgen Schopper (left to right)

22

VA: Have you filmed in New York before?

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

VA: What were your impressions on this occasion?

AM: New York is such an intense cataclysmic sensorium that itleaves me gasping for breath. Trying to fit a vertical city intoan anamorphic frame, trying to film through changing seasons(September to December 2005), trying to create rain in sub-zero temperatures, trying to make a predominantly outdoorschedule work when after 4.30pm it is not even T2 – these aresome of the impressions that will remain, along with the greatsushi, an Ethopian dinner and the Belgian beer.

A BollywoodProduction Filmingin New YorkManhattan has seen manyamazing things, but even the citythat never sleeps wasunprepared for the impact of afull-scale Bollywood productionfilming on its streets.

Kank is the latest feature film project from Dharma Productionsand stars some of the biggest names in Bollywood. Theirpresence at any of the New York locations and the spectatorsthat they drew could bring the area to a complete halt, areminder never to underestimate a film industry with anaudience estimated at 3.5 billion.

Kank stars the legendary Amitabh Bachchan along with ShahRukh Khan, Rani Mukherjee, Preity Zinta, Abhishek Bachchanand Kiron Kher. It is directed and produced by Karan Johar,the son of the Dharma founder Yash Johar. Amongst the filmspreviously directed by Karan Johar, Kabhi Khushi KabhieGham entered the US and UK Top 10 box office charts andhad long running mainstream releases in France, Germanyand Poland.

Kank was shot over 70 days at 60 locations throughout New York and New Jersey. It was photographed by AnilMehta, one of the leading Cinematographers in India. Havingpreviously used an ARRICAM from ARRI Media in London onUK Producer Charles Salmon’s production Marigold, Anil waskeen to repeat the experience when filming in New York andat Charles’ suggestion he contacted ARRI CSC.

In addition to his use of the ARRICAM, Anil chose the Super35 format, and a Digital Intermediate process in postproduction. Both of these choices are relatively new to theIndian film industry, where anamorphic is traditionally theformat of choice.

VisionARRI caught up with Anil back in India whilst he finishedprinciple photography on Kank earlier this year.

Kank

“I FEEL THAT THEARRICAM IS AVERY VERSATILEBLEND OF CAMERADESIGNS.”

23

VISIONARRI

VA: What are the most distinctive differencesbetween filming in India and in New York?

AM: The difference is that in India we plan, then letcircumstances and chance take over, madness ensues andfilms get made. In New York we plan, distribute paper, talkmethodology, distribute paper, plan some more, distributemore paper, then chance and circumstance take over,madness ensues and films get made. As long as films getmade and not a Kafkaesque castle, I sleep well. Our LineProducers in New York, Anadil & Driss worked very hard tobridge the cultural gaps and make our filming possible. JoeWhite, our Location Manager also adapted rather well to our‘organic’ approach. Without them New York would have beenan impenetrable castle.

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

AM: I feel that the ARRICAM is a very versatile blend ofcamera designs as they have evolved. I enjoy its compactness,its lightness (as the Lite), its reliability (no down time at all, oneither film), it’s simplicity with the user-friendly electroniccontrol panel and film transportation and its versatility inSteadicam or hand-held mode. For a sync. sound project it willdefinitely be my first choice.

VA: What lenses did you choose for Kank?

AM: I chose the Zeiss Ultra Prime range, for the simple reasonthat they were the sharpest set available to me. Since the filmis Super 35 and going through a DI process, I chose to staywith the sharpest image capture available to me.

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

�ACTRESS PREITY ZINTA with Anil shooting from above

�ASSEMBLED CAST Preity Zinta, Abhishek Bachchan, Rani Mukherjee (left to right)

�

KANK IN NEW YORK

24

VA: You tested examples of the new ARRIMaster Prime lenses while you werefilming. What were your impressions?

AM: I did get a chance to lay my hands on someMaster Primes while at work, and though I cannotclaim to have tested them systematically I was quitetaken by their vivid clarity – the image in theviewfinder was a delight. In addition the ability toeye focus even the wide lenses at long distances,the complete lack of breathing and the clarity ofthe markings were all very reassuring.

VA: You have pioneered the use of theSuper 35 format. What do you see as itsadvantages on this production?

AM: Super 35 is being used more and more inIndia. It would not be right to say that I havepioneered it in any way. In fact I have probablywaited for the technology to be primed beforeusing it.

VA: You are also using the DigitalIntermediate process in postproduction. Is this common practice in Bollywood?

AM: Digital Intermediate is still in its stabilizingstage in India, although an increasing number offilms are taking this route. With Kank I willprobably be scanning at 4k then down sampling to2k, an option only recently available to us. TheDigital Intermediate chain is gaining currency veryrapidly in India. Almost every movie has somecomponent of DI (titles, VFX, opticals) andincreasingly features originating on the Super 16or Super 35 format are taking the DI option (Zindaand Rang de Basanti). Also films originating on 4perforation. anamorphic (a very popular format inIndia) have chosen to go DI for the “look” (Black &Paheli). The DI chase in on; the technology andthose who operate it now need deliver.

VA: The Indian film industry is easilyunderestimated. What would you like tosee from a company like ARRI in terms ofsupport for such a prolific market?

AM: We have a forum in Mumbai called “TheCinematographers Combine” which has beeninteracting with ARRI over the years. The one thingwe have not tired of repeating is that ARRI needs adirect presence in India, to support all the ARRIequipment that is the Indian market standard. Alsoto further develop the sale & distribution of newproducts and to recognize a significant market thatneeds to be nurtured.

With thanks to Anil Mehta and to Anadil Hossainof Dillywood Inc. of New York for their cooperationwith this article. �

Simon Broad

“I DID GET ACHANCE TO LAYMY HANDS ONSOME MASTERPRIMES… I WASQUITE TAKENBY THEIR VIVIDCLARITY – THEIMAGE IN THEVIEWFINDERWAS ADELIGHT.”

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

�DoP Anil Mehta

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The magnificent art deco buildings of downtown LosAngeles set the scene forDirector Rachel Samuels’

period musical Dark Streets, a sexytale of nightclub owner ShazDavenport who, in the lastflickering moments of his life, triesto piece together the mystery of hisown murder. Produced by Glenn M.Stewart and Claus Clausen, togetherwith Andrea Balen and CorinaDanckwerts of LA basedindependent production companyCapture Film International, the filmnoir musical was shot at manyoriginal landmark buildings andlocations including the Los AngelesCity Hall, the legendary Hollywoodcemetery, the Los Angeles Theatreand Tower Theatre – both onBroadway in downtown LA.

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

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

It was the Tower Theatre set that presented one of the toughest rigging challengesfor Griffith and his team. A vast array of lighting was used to cover an areaspanning three hundred feet, which was spread over two floors. “We usedpracticals, fifty-four Source 4s, five MAC 2000s, two ARRI T12s, more practicals- with no lighting grid, seventy-five feet of cyc strips, even more practicals, onetruss suspended thirty-four feet from the second floor, and carried out seven gelswaps for seven song and dance routines,” summarizes Griffith. “We were atthis location for three weeks; our longest stay at any one location. It was by farthe toughest part of the show due to time and man-power constraints but it wasall made possible thanks to our Rigging Gaffer J.A. Byerly and his guys.”

Another factor that added to the challenges of the shoot was the use of swing& tilt lenses. Although they lent themselves beautifully to creating the requiredlook for Dark Streets, the fastest lens was T2.3. “Slow lenses coupled withlarge locations and dynamic shots made for some real lighting challenges.Everyone knows where the light should go, but what if that is in the shot, thenwhat? We utilized practicals enormously and I was very thankful for the addedpunch of the ARRI lights. We had everything from little concealable 300s up tothe brilliant T12s.” When choosing lighting Griffith favours the ARRI T12. “I ama zealous fan of the T12. Like all ARRI lights, it is compact and potent. Thiseffective light was a real workhorse and a lifesaver for us on Dark Streets. Ibelieve it will become the new industry standard”, Griffith concludes. “All in all,it was a pleasure to contribute and collaborate on this project.” �

Michelle Smith

�DOP SHARONEMEIR designs anoverheadsequence of thedancers from thecrane

�THE CHORUSGIRLS in vintagecostume glowunder themeticulous lightingdesign of GafferRuss Griffith

Dark StreetsLighting

© Capture Film Int’l

© Capture Film Int’l

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

VISIONARRI

27

Before Dresden, teamWorx had carried outpostproduction at ARRI Film & TV in Munich on TVmovies such as The Airlift (November 2005: morethan 8 million viewers) and Storm Tide (February2006: more than 11 million viewers). Dresdenbecame the company’s third sensational ratingssuccess in the winter of 2005/2006. “The fact thatmore than 12 million television viewers saw thisfilm is proof that quality and ratings go hand inhand”, says Nico Hoffman, Managing Director andProducer at teamWorx. His colleague SaschaSchwingel adds: “It makes me extremely happy thatthe intensive work of the entire team was rewardedand valued in this way.”

With a budget of ten million Euros, Dresden is oneof the most expensive German televisionproductions ever made. Written by Stefan Kolditz,its fictional story takes place against the historicalbackdrop of the air raid carried out by AlliedForces on Dresden in February 1945. Thearchitecturally rich city, known since the Eighteenth-Century as the Florence of the Elbe, was razed tothe ground and thousands of its residents, most ofthem civilians, were killed. The film, in which aGerman nurse (Felicitas Woll) falls in love with aBritish bomber pilot who has been shot down (JohnLight), allows viewers to see both sides of the storyin an impartial way.

The film came together during a 70-day shoot atoriginal locations in the Saxon capital, as well asin Leipzig and Cologne. There followed anexhaustive 8-month postproduction phase based atARRI in Munich, which involved the entire soundmix as well as visual elements.

Throughout the shoot, the negative was developedand video rushes pulled at ARRI, so that they couldbe onlined directly from the digi-betas after theywere scanned on the Spirit in SD. Head Colouristof the entire production was ARRI’s NatalieHelgath. After the external offline edit was carriedout by Roland Suso Richter on an Avid, TatjanaSchröter of ARRI Film & TV went ahead with theonline edit. “VFX shots were worked on externallythroughout the process; even the sample phase -meaning we constantly clipped shots whichrequired visual effects work and sent them on digi-beta to the VFX facility. The entire online wascarried out on the Avid Adrenaline, as is the casewith most classical TV productions”, says TobiasBohlinger, Project Co-coordinator for TV Drama atARRI Film & TV.

“Simultaneously, a lot of archival material from film,VHS, DVD and other formats was edited in duringpostproduction. Right until the end we, togetherwith the Producers, tried to locate original filmfootage to scan in. The Producers and Executivesagreed that for the sake of authenticity, inferiorquality was something we had to accept in order tohave the source material in the film”, he continues.The question of how extensively they should touchup the archive material arose continually: “Asidefrom the fact that it just wasn’t possible in somecases – because there are shots that are beyondrepair – part of the charm of archival material isthat it is old and looks old”, says Tobias Bohlinger.

“MORE THAN 12MILLION TELEVISIONVIEWERS SAW THISFILM - PROOF THATQUALITY ANDRATINGS GO HANDIN HAND.”

DRESDEN

28

It is interesting that many new shots were digitallyaltered at ARRI to make them look old. This visual‘film damage’ was the job of Jan Mehlhase, whoinserted dust, scratches and flickering during theexposure onto film using special PC-based software.“On the Combustion, or rather the Flint, individualshots that particularly looked like archive imageswere adjusted for the edit and made to look old”,explains Jan Mehlhase. “Normally one removesmistakes, artifacts or dust, but in this case we addedthem. This undertaking had to take place after thefinal colour grading because noise reduction wascarried out as part of the normal colour timing andthe DVNR noise reduction would have filtered outeverything I had built.”

“Colour played an intentional role in the dramaticexposition. During the black-out phase prior to theattack, no regular light sources could be seen intown; only the blue light in the entryways of officialbuildings. Then the RAF flares (known as Christmastrees) being thrown from the planes immersedeverything in a sort of greenish light, while on thefire set we worked exclusively with fire as the lightsource”, DP Holly Fink explains. The contrastbetween these light sources, bolstered by the colourtiming, was used as a tool to separate locationsclearly and make it easier for viewers to ‘find theirway around’ during the film.

Authenticity was generally an important aspect of thisTV movie and was reflected in more than just thearchival footage and colour timing. All English pilotsand military personnel were played by British actorswho spoke English on set, while the German actorsspoke in German. Unlike in similar films set duringWorld War II, exterior scenes were not shot inEastern Europe. “It was a conscious decision to shootat the original locations in Dresden, especially at the‘Frauenkirche’, which was a tricky building for us,because the church had not been entirely restoredyet and the inside was being restored from blueprintspredating 1945. The ‘Fürstenzug’ and the‘Augustusbrücke’ are also locations which can only

be reproduced authentically in Dresden”, explainsProducer Sascha Schwingel. The main titles, as wellas the numerous inter-titles for Dresden, were createdat ARRI in Munich. The Title Designer was StefanSöllner, who created the titles in the classicVideodirector with an Aston Motif title generator andan A 57 DVE.

TV Production with Cinema SoundEven when it came to the large-scale sound mix ofDresden, authenticity was the key concern. It wasteamWorx’s intention from the beginning to producean impressive, experiential soundtrack in the 5.1format, because so much more can be achieved with6 channels. Cinema sound for television and theassociated broadcasting facilities required at TVstations are not the established norm in Germany atthis time.

“The work on the visual level was truly extraordinary– the fear of dying and the closeness to death cameacross exceptionally well – and it was the task of thesound to complement this dramatic visual impact, notleast with the fantastically urgent and emotionalscore from Harald Kloser”, explains Sound DesignerMax Rammler. “That being said, at the soundrecording at ARRI it was clear that the music shouldnot be used in a glorifying way and so the air raidwas not accompanied by overly bombastic music.On the contrary, Director Roland Suso Richter paidgreat attention to maintaining an emotional balance.

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It was our task and an incredible challenge to maintain that balance with our use ofsound for heroic, touching and human moments during all these action scenes. Withregard to the technical effort, we had three to four times as many tracks as is normalfor a television production. Altogether, I went to the final mix with over 80 tracks,compiled from some 250 separate audio tracks. It really was a feature film effort. Infact most of the feature films I have made so far weren’t as demanding as thistelevision production”, comments Max Rammler.

From a technical perspective the sound recording of Dresden at ARRI Sound and itsdistribution in the 5.1 format will set a trend “…towards digital tracks, HDTV andmulti-channel sound. Because that, from a technological point of view, is the future”,guarantees Rammler. “And ARRI is one of the few facilities in the world where froma creative, as well as a technical perspective, the necessary expertise for tomorrow’stechnology is available today. We can impart the necessary know-how to thenetworks; how they have to design their products in terms of dynamics and in termsof technical development, so that they can broadcast the best possible final product.ARRI is clearly a company which can set a technical as well as creative standard inthis area.”

For Dresden ARRI completed a version consisting of two 90-minute episodes forGerman television, as well as a single 142-minute version for internationaldistribution and theatrical release. The master tapes for DVD authoring were alsomade at ARRI. “This required quite a bit of logistics, because we had to cut from two90-minute parts one 142 minute version – adding clips that were not part of the two90-minute versions. That meant we had to go through colour correction again,grading and adjusting all scenes which had not been part of the TV version. EditorBernd Schlegel wanted to have all available footage shot for the two-part TV mini-series for his Avid cut of the theatre version”, says Tobias Bohlinger.

As a little advertising gimmick, ZDF decided to advertise the television film Dresdenin movie theatres, running a 30 second spot in cinemas. Even the copies for thetheatre commercials were produced at ARRI. �

Jochen Hähnel

Online: Tatjana Schröter

Colourist: Natalie Helgath

Title: Stefan Söllner

Visuals Film Damage: Jan Mehlhase

Project Co-ordination: Tobias Bohlinger

“WITH A BUDGET OF TENMILLION EUROS, DRESDEN ISONE OF THE MOST EXPENSIVEGERMAN TELEVISIONPRODUCTIONS EVER MADE.”

�DoP HOLLY FINK behind the camera

�ON LOCATION for Dresden

D-20

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Combining the functionality of ARRI film cameras with theimmediacy of digital acquisition to provide a modern film-styledigital camera doesn’t stop there. Continuing developmentensures that the D-20 can offer the Cinematographer even moreoptions such as the experimental data mode that was shown atNAB, Las Vegas. Once developed further this will allow rawdata from the 4:3 area of the sensor to be recorded, monitoredand subsequently provided to the post-production in a standard2k or 3k format.

With regards to availability, Bill Lovell, ARRI’s Digital CameraProduct Manager, comments “We have been bowled over bythe huge interest in the D-20 and are currently working hard toproduce enough cameras to meet the global demand. Thecameras will be available through a variety of ARRI RentalGroup partners and associates including Clairmont Camera inthe USA and Canada, Bogard in France and NAC in Japan.”

Madonna at The Grammy AwardsThe Grammy Awards have a history of memorable and oftenunexpected live duets, such as that between Elton John andEminem in 2001, but when organisers announced thatMadonna would share the stage with animated band Gorillaz,at the 48th annual awards in February 2006, there wasspeculation as to how this would even be possible.

The show’s Producers needed to create an illusion that wouldwork for both the live audience and for the millions of televisionviewers. A two-dimensional projected animation would not besufficiently dynamic, and would not allow Madonna toconvincingly interact with the cartoon band members. Thedecision was made, therefore, to image Gorillaz using 3-D HDcolour projection - a broadcasting first for US television.

The idea was to seamlessly meld previously recorded footage ofMadonna performing with her actual live appearance. The pre-recorded images would make possible a virtual duet betweenGorillaz and Madonna, duping the audience into believing theyhad seen Madonna appear live on stage when in fact they werewatching a life-size projection. This projection, having beenpainstakingly composited with the animations, could seeminglyoccupy the same three-dimensional space as Gorillaz - walkingfirst in front of one character and then behind another.Madonna would leave the Gorillaz stage and reappear on anadjoining one, this time in person, wearing the same costumeand make-up to complete the illusion, and the song.

It was vital that the projection of Madonna look as similar tothe live broadcast performance as possible, so the choice ofcamera was a crucial factor. HSI London, producing the spot inassociation with Passion Pictures, were keen to use the newARRIFLEX D-20, a film-style digital camera capable of imagecapture at the highest end of High Definition. In order to reducemotion blur and emulate the video look of broadcast camerasthat would be recording Madonna on the night itself, theProducers requested that the D-20 record at 59.94fps at its full1920x1080 resolution.

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

Currently such a frame rate cannot be captured on tape,which meant that the camera would have to stream imagesdirectly to a computer capable of capturing and storing themin real time.

ARRI Media in London quickly sourced a DVS Clipster fromroot6 of Soho and set about testing it with the D-20 during thefew days before the shoot.

The camera was being utilised in an entirely new and unprovenmode, so it was deemed sensible to shoot 35mm film side byside with the D-20, as a precaution. ARRI technicians werepresent on set alongside the 35mm crew, and the two cameraswere mounted next to each other on a dolly. The D-20 performedexactly as required and the Clipster to which it was cabledcaptured the takes, which could immediately be played back ona Hi-Def monitor and edited into a timeline, without a hitch.

Post-production was carried out at The Mill in London, wheretechnicians were presented with the luxury of being able tochoose between the 35mm and digital versions. Both optionswere of high resolution, but the deciding factor was a concernthat a TV Cameraman might zoom in on the projection duringthe live broadcast, and the D-20 images were found to becleaner at high magnification. For this reason the D-20material was chosen to create the composite. Audiences werestunned by the result when it opened the ceremony at theStapleton Center in Los Angeles on February 8th and the duetimmediately became a ‘Grammy moment’. Gorillaz werefurther rewarded with the ‘Best Pop Collaboration With Vocals’award later in the evening, for their track ‘Feel Good Inc’,featuring De La Soul.

Further info on Gorillaz: RMP on +44 208 749 7999

VISIONARRI

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ARRIFLEX D-20 GoesCommercial at ARRI RentalColgateIn January 2006 the first two-camera production forthe D-20 serviced by ARRI Rental Munich took placefor 16 days in Prague, Czech Republic. A total of 46commercials for Colgate toothpaste in variousEuropean versions where produced by the Czechproduction company “Filmservice Productions” forYoung & Rubicam, France.

The compatibility of the camera with the full range ofPL-Mounted lenses was a major reason for going withthe D-20. “We wanted to use 35mm lenses for asmall depth of field, which is only possible with alarge sensor and especially swing and shift lenses forthe special look of these commercials,” says DoPMike Lloyd from Great Britain. “Stuart (Macleod, thedirector) and I were eager to give the D-20 a real-lifechallenge after a very promising demo at ARRI Mediain London. We thought it to be the right choice for thisjob – and we were completely satisfied.”

After the first days of shooting DoP Mike Lloyd almostforgot about his lightmeter: “With the Astrowaveform-monitor you really have control on yourexposure and the results we saw in the grading suitewere extremely satisfying”. The material wasrecorded on two SONY SRW-1 HDCAM SRrecorders and additionally on two analogue BetacamSP for offline editing. The HD-material was gradedand downconverted at UPP in Prague, the finalonline of the commercials was done in Paris.

Even though the swing and shift lenses led to someminor differences in colour between the two camerasit was no problem at all to match the images.Colourist Ondrej Stibinger from UPP states: “Thelevels were very well balanced thanks to the usage ofwaveform monitors on set. This material looks muchmore like film than any other digitally acquiredmaterial I have seen until now.”

Kawasaki NinjaOnly a week after the D-20 was first presented topotential customers at ARRI Rental Vienna the firstproduction in Austria took place on March 16th2006. “Propeller Film” produced a commercial forKawasaki Ninja motorbikes, which is intended to besubmitted to the Cannes Lions 2006 internationaladvertising festival. Roman Valent directed the storyof a young man packing his clothes for a motorbiketour…

Producer Gregor Modrzejewski tried to push the D-20 to its limits: “We recorded in RGB 4:4:4 on theSONY SRW-1 field recorder to evaluate how far wecould go in grading.” Directly after the shoot, thematerial was transferred to a DVS Clipster®harddisk-system in 4:4:4 for postproduction atVienna-based Listo Video. A Barco HD-projector wasused to evaluate the images during transfer.

“The look of the D-20 is very clean,” says DoP HaraldStaudach, “the only thing that takes some getting usedto is the shutter running all the time.” Using a lightmeter, he set the light levels to the equivalent of about100 ASA but quickly found that a waveform monitoris an equally valuable tool for evaluating exposurelevels with electronic cameras (and after all the D-20is one…). “This really shows if you are exposingcorrectly or are loosing details in the blacks or thehighlights. I felt completely safe regarding exposurelevels.” Producer Modrzejewski is looking forwardusing the D-20 for various commercials in the nearfuture: “We see a lot of advantages in digital HDacquisition especially for commercials.”

Lenses, tripods and other additional equipment weresupplied by ARRI Rental Vienna – Branch ManagerGerhard Giesser is confident to see the D-20 verysoon in Vienna again.�

�1ST ASSISTANTDIRECTOR OliverKester, DirectorRoman Valent, DoPHarald Staudachwith the D-20

�DoP HARALD STAUDACH framing a shot on the Kawasaki Ninja commercial

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

ˇ ˇ

�DIGITAL & FILM side by side

D-20D-20

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The spot, titled Gobstopper, features ChelseaMidfielder Joe Cole playing football with somefriends. As the game progresses the ball becomessmaller and smaller until it finally disappears.

Marky explained his approach to the project: “All of the spots for this campaign share a certainquirkiness and were shot in a very realistic way,mostly on HDV. As soon as I read the script forGobstopper I knew it should be treated differentlyfrom the other spots I’d seen. The idea allowed forthe narrative to guide us, and a more dramaticvisual style to be used. I wanted to see realdetermination and effort on the faces of the playersand the trickery they use to manoeuvre the ballaround the pitch.”

The location was urban and gritty, so DoP EdRutherford suggested a subtle lighting plan thatwould make optimum use of the physical elementsalready present at the location. Marky continues:“All of our shadows came from the different areasof fencing and roof pillars surrounding the court. Itwas as if the sun was enhanced with natural placesfor shadows to fall. We cooled the temperatureslightly in order to stay away from a relaxedsunlight feeling.”

Marky decided to shoot many of the takes on along 25-250mm zoom lens from a dolly, allowingthem to get in close to the action but still read thedetail as the movement was fluid. Marky explained:“We did use wider lenses and use the camera inhand-held mode to get some high energy shots too.I was amazed at the cinematic depth-of-field the D-20 gave us. This came in useful when ourfootball was no bigger than a squash ball.”

It was Ed who decided that the D-20 would suit thisproject perfectly. Ed explains: “With the requestfrom the agency to shoot HD, I wanted to uselenses I was familiar with and with the D-20 and itsPL mount it meant that all the lenses I intended touse would be compatible. Also, I wanted to use thecamera in the hand-held mode and I knew that theergonomics and the light weight of the camerawould lend itself perfectly on the pitch amongst theplayers. I had heard a lot about the camera andwas keen to put it through its paces.”

Ed continued, “The D-20 didn’t disappoint, it wasnothing short of amazing. Halfway through the dayI realised that I hadn’t looked once at the monitorbut had been very comfortable looking through theeyepiece. With the safe area it meant that I couldsee the edges beyond the frame like boom mikesand lighting stands. The project involved a highcontrast with a wide dynamic range and the D-20gave us much more detail in the highlights than onHD cameras.”

Ed concluded: “I thoroughly enjoyed using the D-20, the set-up took next to no time and the menusystem couldn’t be more straight forward to use, itsvery apparent that the camera system has beentotally designed with the cinematographer in mindand I look forward to using it again very soon!” �

Andreas BerklMark Hope-JonesJudith Petty

�DOP ED RUTHERFORDon location

D-20 Captures Nike World Cup Football CommercialDuring the approach to the World Cup 2006, Nike was busy producing a seriesof TV and web commercials featuring high profile football stars to promotetheir Joga Bonito campaign. Agency Wieden & Kennedy Amsterdam wanted toappoint a young Director with a lot of experience in promos and commercialswho could give the spot a contemporary, street-like treatment and so theyturned to Marky of Production Company, ASD Lionheart.

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VISIONARRI

MFS started out as a camera and grip rental facilityin Cape Town that was fully supported by ARRI Media in London. As the company’s reputationgrew, so did the demand to establish other branchesin the country. It became necessary to offer clients aone-stop service, providing cameras, grip, lightingand Kodak film stock under one roof. ARRI LightingRental in London supported the initial offering oflighting, with MFS later purchasing equipment oftheir own. MFS now offers the most up-to-date ARRI equipment, as well as complementingequipment from leading specialized cinematographicsuppliers from around the world.

Today Media Film Service has the largest footprint ofservice centres in South Africa, with branches inJohannesburg, Cape Town and Durban, as well asrepresentation in Namibia.

“We can offer our clients the best equipment andunsurpassed service, anywhere in the country. Wecan deploy our resources from one, or all of ourbases simultaneously to ensure a seamless supplyand delivery of services. ARRI and Media FilmService believes in the South African film industryand are continuously investing in state-of-the-artequipment and development opportunities in theSouthern African Region,” continues Jannie.

“Media Film Service owes its success to threefactors, first, the highly motivated and committedMFS team, second, to ARRI Media and ARRI for theirinternational support, and thirdly, to the wonderfullyloyal and supportive clients and friends of MFS.”

Building the Team“This vastly exciting journey started out with threepeople, some camping chairs, a personal computer,loads of goodwill and of course the support fromARRI Media. Six years on there are seventy teamplayers, warehouses full of gear and hugecommitments,” explains Jannie.�

MEDIA FILM SERVICE South Africa

Since its establishment, only six years ago, Media Film Service SA (MFS) hasacquired a firm footing in a very competitive market, emerging as one of Africa’sleading equipment rental companies. “We are committed to continually raisingthe bar on technology and service to ensure a world-class equipment rentalexperience.” says Jannie van Wyk, founder and CEO of Media Film Service.

�DELIVERING film stock to the Angolan border for the featureThe Trail

�ARRIFLEX 235 overlooking Table Bay, Cape Town

�

MEDIA FILM SERVICE

“In our industry, we all come from different backgroundswith very different skills and valuable qualities. It is theseskills that qualify us within our industry, but sometimesbeing the best at your job can also mean that you did notnecessarily obtain a formal certificate of competency orqualification testifying to your ability. Although ‘only beingas good as your last job’ is one of the great beauties of thefilm industry, it can also be a setback when establishing acommon playing field for a team of technicians,administration staff, management and accounting people.”

For this reason training was become an integral part of thecompany. While looking at every aspect of the company,MFS placed training at the centre, knowing that throughtraining staff could be empowered to shape their own futuresby being part of the process of establishing goals, objectivesand a vision. “People are the heartbeat of any company,and are what make Media Film Service so successful.” saysNeil du Toit, Managing Director of Media Film Service.

The Industry in South AfricaThe South African film industry is a highly competitivemarket on every level, one where excellent performance isessential to survival. This may be the underlying success ofSouth Africa as a film making country.

South Africa is seeing a return of the commercials marketand an even larger influx of feature film productions. “Theforeign market has identified South Africa as a country thattook quick remedial action to realign its costs and valueoffering to the world’s filmmakers. This has drawn themback from many other emerging locations, despite a weakUS Dollar. SA has proven to be an excellent value formoney location as opposed to a cheap one. Qualityequipment, committed crews, affordable talent, good hotelsand food, a safe working environment, excellent productionvalue and diverse locations all add up to make greatproduction sense!” asserts Johan Haupt, Finance Director ofMedia Film Service. “By strategically positioning andcontinually strengthening our inventories and operationsacross Southern Africa, we are best suited for the majorityof productions.”

“We pride ourselves in the fact that our clients feel that theyare part of our team and are contributing to the biggerpicture in the development of people and working ethoswithin the film industry in South Africa. They feel safe inentrusting us with their projects and knowing that we willdo whatever it takes to deliver on time with the highest levelof expertise and service, and of course within budget.”concludes Jannie.

“Doing it better” is the challenge that is never far from ourminds at Media Film Service. Come over to South Africa…we look forward to contributing to your reason for manyhappy returns! �

Jannie van Wyk

�ARRI MASTER PRIME, Highveld

�SUPERTECHNO camera crane, Noordhoek beach

A MOBILE silent generator truck, Namibia

���

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The 2005/2006 commercial season has beenespecially good for Cape Town but as thecommercial industry tapered off in April, therewere a number of feature films either inproduction or starting production and shootinginto the winter. The mixture of feature filmsand commercials at this time of the yearindicate that the market is experiencing less ofa typical dead winter season and will seemore of an even year-round production cycle.

In 2006, MFS has serviced and are looking forward toservicing some wonderfully exciting and challenging projects,including:

ER - a number of episodes of ER (Sudan), set in refugeecamps/hospitals in Darfur, were shot in Cape Town and theKalahari areas.

Directors: Chris Chulack, Richard Thorpe, Skipp SudduthDoP: Michael Brierley SASC Equipment supplied: lighting and grip

10 000 BC - a Warner Brothers project that has attracted alot of attention and is reported to be the biggest movie everabout to shoot on South African soil. This project has receivedsupport from the whole ARRI Group and some of the servicewill even be supplied in New Zealand by ARRI Australia, thenewest of the ARRI Group companies.

Director: Roland Emmerich, DoP: Ueli SteigerEquipment supplied: camera and grip

Goodbye Bafana - a local story that plays out around ex-President Nelson Mandela’s prison guard.

Director: Bille August, DoP: Robert Fraisse.Equipment supplied: camera, lighting and grip

Primeval - a technically challenging production, being filmedin a very remote location of South Africa, about a crocodilecalled Gustave.

Director: Michael Katel, DoP: Edward Pei Equipment supplied: lighting, grip and SuperTechno 30 crane

Katrina - shot in Cape Town, this documentary drama isabout the victims of hurricane Katrina.

Director: Jonathan Den, DoP: Jonathan PartridgeEquipment supplied: lighting and grip

White Lion - told from the lion’s perspective, the story isabout a white lion cub and the problems it faces growing upin a pride as a white lion.

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

“The first movie I shot in South Africa wasHotel Rwanda in 2004 in Johannesburg. Ihad a great crew there. I have just startedthe Bille August movie Goodbye Bafana inCape Town and I have a great crew as well,very professional and very competent.

Because this movie is a co-productioninvolving six different countries we have metmany problems and the movie had to bedelayed several times. I was introduced toMedia Film Service and after a short meetingI decided to hire them for camera andlighting equipment. We didn’t know if wewere going to shoot until the last minute sowe were constantly changing dates and typeof equipment. But in spite of that, peoplefrom Media kept smiling and did their best toprovide me the best possible equipmentsuitable for our budget. Everyday I feltstrongly supported by Jannie and his team.”

DoP Robert Fraisse

“I have had the pleasure of using Media FilmService in South Africa many times over theyears and have only good things to sayabout their service and attention to detail. Ihave shot many features, including the Oscarnominated Yesterday. Media have suppliedgear on nine of the twelve films I have shot.

I once needed a hand crank camera for alow budget movie I was shooting, Jannieand his team had it designed and modifiedand in the country within four days of myrequesting it. Now that’s not just goodservice, that’s great service.

Their lighting and rental catalogue isconstantly being upgraded and their gear isalways immaculately maintained. I knowwhen I order Media gear, it’s going to bethere and it’s going to work.”

DoP Michael Brierley SASC

“Your people, facilities and resources are firstclass. You have enough back-up via ARRI tomake a large project such as 10,000 BCpossible for us in the most professional way.At the same time you have custom tailored allof your equipment to our specific requests,which was no easy task. I would like to addagain, that it is the people behind theoperation that makes shooting such ademanding film as ours possible.”

DoP Ueli Steiger & Camera Assistant Joseph Sanchez

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focal length. The Master Zoom forms a high contrast,high-resolution image with almost no chromaticaberration. The aspherical lens elements help inreducing spherical aberration but more importantlykeep the image geometry free of distortions, sostraight lines stay straight, from infinity to close focus.

Another issue with many zoom lenses is that as youzoom in, the picture can get slightly darker - acondition referred to as ‘lens ramping’. The greaterthe zoom ratio the more difficult this condition is toprevent, but with the Master Zoom there is no lensramping as its design ensures that the aperture holdseffectively while zooming.

PERFORMANCE WITH POWER The Master

Exclusively available through the ARRI Rental Group,the Master Zoom covers the whole Super 35 frameover the entire zoom range, while displaying verylittle breathing. This is because the same opticalcomponents used to create the Master Primes havealso been utilized in the Master Zoom, including DualFloating Elements™, special high precision asphericallens elements and exotic glass materials. Animportant issue in zoom lens design is the correctionof optical aberrations (such as chromatic aberration(colour fringes), and in particular, field curvature)across the whole operating range of the lens; this isconsiderably harder in a zoom lens than a fixed lens,which needs only to correct the aberrations for one

Technological progress in the fields of lens design, optical glass materials, anti-reflection coating, optical metrology, precision machining and surfacehardening have enabled the ARRI Rental Group and Carl Zeiss to bring you theMaster Zoom 16.5 – 110. A high performance T2.6 zoom lens that providesoutstanding optical image quality.

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VISIONARRI

ZOOMThe new Zeiss T* XP multi-layer, anti-reflection coating reducesveiling glare and internal reflections, while creating a pleasingcolour balance. Compared to conventional coatings, the T* XPcoating has better transmission with a more uniformperformance across the lens, from the optical centre to theedges. The Master Zoom’s design also provides superiordamping of stray light and flare through internal light trapsand strategically painted lens rims. The various light trapsincorporated into the mechanical design keep unwanted lightfrom bouncing around inside the lens and several types ofproprietary black paints with different refractive propertieshave been used to blacken lens rims for maximum absorbingeffect. All of these factors result in higher contrast with deeper,richer blacks, while a round iris opening creates naturallooking out-of-focus highlights.

The Master Zoom has been Super Colour Matched to fitperfectly with all other modern ARRI Zeiss lenses, allowingshots to be easily intercut. The design of the focus, zoom andiris scales have also been matched to other ARRI Zeiss lensesfor familiar handling and, as with the Master Primes, the focusring is reversible for easy switching between metre and feetscales. All mechanical parts have been engineered for anextremely smooth feel and the Master Zoom’s unique activetemperature compensation ability means that focus and imagequality can be maintained over a wide range of temperatures.

Superior performance and ease of operation is exactly whatyou expect from ARRI Zeiss lenses, the new Master Zoom lensoffers great optical and mechanical performance and isavailable exclusively from the ARRI Rental Group. �

THE MASTER ZOOM FORMS A HIGH CONTRAST, HIGH-RESOLUTION IMAGE WITHALMOST NO CHROMATICABERRATION.

MASTER ZOOM FACTSCovers full ANSI Super 35 image area over the entire zoom range

Focal range of 16.5 to 110mm, aperture T2.6

Almost no geometric distortion, even up close

Virtually no breathing

Zeiss T* XP multi-layer, anti-reflection lenscoating means minimal veiling glare

Holds effective aperture while zooming so no‘lens ramping’

Provides superior damping of stray light and flare

A circular shaped aperture creates naturallooking out-of-focus highlights

Active temperature compensation holds focus andimage quality over a wide range of temperatures

Built-in Lens Data System (LDS)

Super Colour Matched

Reversible focus ring for easy switchingbetween metre and feet scales

What is the T* XP Anti-reflection Coating?Anti-reflection coatings ensure that the maximumamount of light reaches the film instead of beingreflected away from the lens surfaces or, worse,bouncing around inside the lens. They are also animportant contributor to correct colour balance.

The new multi-layer T* XP (Extended Performance)anti-reflection coating developed by Zeiss ensuresmaximum light transmission in a wide spectrum ofwavelengths. The coating, which is also used for theMaster Primes and other ARRI Zeiss lenses, has beenoptimized with respect to the spectral sensitivity ofmotion picture film and the sensitivity of the humaneye. In addition, a sophisticated new applicationprocess assures uniform performance across thewhole lens surface. Compared to conventional multi-layer coatings, the T* XP coating has up to five timesbetter transmission at the edges.

The results are higher contrast, deeper blacks and agreat reduction of false light effects such as internalreflections, veiling glare, flare and narcissism.

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Tasked by Toyota to produce action-packed, dynamicmaterial that captured the high-tech world of FormulaOne, R.TV used Toyota’s TF106 racing car as thefocus of the production. A giant shooting operationhad to be undertaken in order to capture the F1 car,which reached a speed of around 211mph, racingdown the test tracks of the Paul Ricard circuit in LeCastellet, France. The multi-camera shoot included ten35mm units, a helicopter, a crane and a speed car,as well as many other tricks of the trade. ClausRichter, of the ARRI Camera Support Team,accompanied the huge camera package thatincluded ARRIFLEX 235 and 435 Xtreme cameras, aswell as the Ultra Prime 8R lens, which was used tocapture dynamic and unusual angles from a cameramounted to the F1 car. Due to the speed that theTF106 racing car was traveling at every set-up hadto be perfect, the timing and course of events had tobe worked out with great detail. During shootingeven communication was a challenge with the noiseof the engines roaring. As if all this wasn’t enough ofa task for Director Tobias Heppermann and ProducerOliver Bauss, they set out to generate never-before-seen material with the help of special effects, and toproduce two world premieres – clearly a job for ARRI Commerical!

ARRI STOPS FORMULA ONE IN ITS TRACKS

R.TV Film and Television from Böblingen produced exclusivefootage for the start of the 2006 Formula One racing season.

Rico Reitz, Art Director & Inferno Artist, attended theshoot as the supervisor for the planned special effectsand was fascinated by what took place at the circuitin Le Castellet, remarking: “It was incredibly loud!”The goal for the entire team was the optimalrealization of two time-slice sequences. On set hemet, among others, Dayton Taylor (Matrix-Effect).

Preparation for the effects took eight hours of rigging per motif, as it was very important to ensurethat all fifty of the Canon analogue cameras wereprecisely aligned and that simultaneous shutterrelease was achieved. The Canon cameras werebracketed by an ARRIFLEX 435 at the beginning andan ARRIFLEX 235 at the end of the shot.

Back in Munich the images were scanned with theARRISCAN at a resolution of 2K. Individual pictureswere then stabilized on the Inferno & Flame and puttogether into a sequence, creating the required time-slice effect.

�DAYTON TAYLOR(Matrix-Effect)

�THE CANON CAMERASbracketed by an ARRIFLEX 435 & 235

�LOOKING through the UP8R

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

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VISIONARRI

“If the cameras had not been precisely aligned and/or the shutterrelease had not occurred simultaneously, postproduction would havebeen extended by several days,” said Mikel Tischner, Inferno Artist.“For that reason, the pictures shot are generally viewed on set in adigital format to check the alignment and simultaneous shutter release.”

The selected motifs for the time-slices show a pit-stop and, from anadditional set-up, the TF106 driving through a puddle, which isparticularly impressive because of drops of water that appear to besuspended in the air. The car freezes in front of your eyes and asquickly as it froze, it comes to life again and races off at anincredible speed.

Director Tobias Hepeprmann and Producer Oliver Bauss were relievedwhen the shoot was in the can: “We are always in search of theunusual and have long had the desire to realise this complicated time-slice in the context of Formula One. With Toyota we had the rightteam and ARRI was able to fulfill our wishes one hundred percent.The end result is perfect!.” �

Julia Eberl

Product: Formula One “Toyota”

Production: R.TV Film and Television, Böblingen

Director: Tobias Heppermann

Exec. Producer: Oliver Baus

Postproduction: ARRI Film & TV / Commercial

PP-Producer: Philipp Bartel

Telecine: Janna Sälzer, Bertl Grabmayr

Inferno/Flame Artists: Rico Reitz, Mikel Tischner

“WE AREALWAYS INSEARCH OFTHE UNUSUALAND HAVELONG HADTHE DESIRETO REALISETHISCOMPLICATEDTIME-SLICE INTHE CONTEXTOF FORMULAONE.”

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MOMENTS IN TIMEA RETROSPECTIVE OFARRIFLEX CAMERAS ATWORK ON MILESTONEPRODUCTIONS

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VISIONARRI

Das Boot and the Birth of the IIICA year after its release in Germany, Das Boot premiered in theUnited States at the 1982 Filmex film festival in Los Angeles.The lights went down, the curtains drew, and a title cardappeared on the screen: “40,000 German sailors served on U-boats during World War II. 30,000 never returned.” Theaudience, accustomed to war films that almost universallypresented stories from an Allied standpoint, broke intospontaneous applause. At the back of the auditorium, DirectorWolfgang Peterson’s heart sank. He had spent over two yearsmaking this film about the cramped and dangerous lives ofmen aboard an Atlantic U-boat in 1941, with rigorousattention to detail. In Germany it had been criticised by theliberal left, of which he was a member, for not expressing theguilt that had permeated the country’s society for decades.Now it seemed the film might be punished in America simplyfor telling a story about the hardships of war from a freshperspective. Peterson sat with the audience throughout thetwo and a half hour screening and wondered if, even after 40 years, it was still too soon to have made such a film. Hisanswer came as the end credits started to roll. Das Bootreceived a standing ovation. �

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Based on the best-selling novel by Lothar G. Buchheim, the filmhad actually been in development as an American projectfrom as early as 1976. Don Siegel and John Sturges werelined up as possible Directors, while Paul Newman and RobertRedford were considered for the role of the U-boat captain.Sturges spent a great deal of time preparing for the shoot inMunich, where construction of the submarine replicas andminiatures got underway. The project, however, was impededand eventually shut down by creative differences between theproduction team and Buchheim, who had right of veto overthe screenplay.

In 1979, a Producer named Günter Rohrbach took overBavaria Film Studios, where the Americans had intended toshoot. It occurred to him that since so much money hadalready been spent on the sets and miniatures, which werethere for the taking, it might be worth resurrecting the film asan all-German production. The budget would still be greaterthan that of any previous German film, but he calculated thatby using the footage to create both an international featureand a longer TV series, he could double his markets and offsetthe considerable cost.

Jost Vacano, a local DoP with 15 years’ experience shootingGerman TV and features, was hired to photograph the film.He had never met Wolfgang Peterson before, though they hadheard of each other and quickly formed a strong relationship.“I communicated with him very well from the beginning”, saysVacano. They shared a determination that absolute realismshould be the basic credo underlying the endeavour. Petersonagreed in principle with Vacano’s view that it was vital to filmwithin the actual confines of the submarine interior set, withoutremoving walls or ceilings. They had both seen some of themany ‘submarine movies’ that came out of America throughoutthe 1950s and wanted to escape the staged aesthetic of those

“I HAD VERY STRONG FEELINGS ABOUTTHE VISUALS OF THIS FILM AND ITWAS NOT EASY IN THE BEGINNING TOCONVINCE THE DIRECTOR AND THEPRODUCERS THAT I WAS RIGHT.”

films. Vacano ran into difficulty, however, when heexpressed a belief that hand-held filming would bethe best option: “I had very strong feelings about thevisuals of this film and it was not easy in thebeginning to convince the Director and the Producersthat I was right.”

He was also keen to avoid film lighting, preferringthe idea of placing high-wattage practical lamps inlocations true to original submarine specifications:“Normally you would bring light to the actors, but Iwanted to light the boat in a certain manner and thennot change it. That way, the actors had to move tothe light, which meant action centred around workstations in a realistic way.” Although Vacanoacquired a few precious rolls of Fuji’s new 250ASAstock, making Das Boot the first European film to useit, he had to make do with 100ASA - the fastestcolour negative then available - for the interiors,which meant slightly underexposing even at T2.8.

�DOP JOST VACANO in the submarine setwith his purpose-built gyro-rig and theprototype IIIC. First Assitant Peter Maiwaldholds the remote focus unit.

43

The studio was nervous about Vacano’s idea ofshooting the piece more like a documentary than amajor feature. Many involved with the project felt thata film bound for world markets should emulate theHollywood style of filmmaking. Vacano felt preciselythe opposite: “My response was – let’s do it the bestway we can do it, not the way it might be done inHollywood. We had the chance to approach a bigfeature film in a new and unexpected way.”

Peterson was won over and Vacano started buildinga gyroscopically stabilized camera rig that he couldhold in front of his crouched body as he ran throughthe set. Though Steadicam was available at that time,it was too cumbersome to get through the tiny circulardoors that separated compartments within thesubmarine. Space was so tight that he had to wear acrash helmet and body armour to prevent seriousinjury on the many occasions when he fell or struckan obstacle. The rig softened his jarring runningmotion without eliminating a sense of human bodymovement that he believed would help pull audiencesinto the story.

Being double-stabilised on the optical axis, the rigalso provided a horizon reference that thewindowless submarine lacked, for scenes duringwhich the set was pitched about on a huge hydraulicplatform and the actors could barely keep their feet.Vacano additionally developed his own remote focusunit with the help of Alfred Chrosziel. “There havebeen times in my career”, he says, “when it has feltlike I’m as much an engineer as a photographer.”

Vacano initially used an ARRI IIC camera on hishand-held rig, but ran into difficulty because the rigidviewfinder made low-angle work almost impossible.He lived in Munich and had a good relationship withARRI, so asked engineers at the company if theymight build something that could help him. Thisconversation brought about the birth of the IIIC, asingle-mount, pivoting-viewfinder camera thatrepresented the last evolutionary step of a bodydesign which began life in 1946 as the ARRI II.Vacano was delighted: “I was always very close withthe ARRI engineers”, he says. “We would discussfuture developments and I would tell them what Iwould like to see or what particular features mighthelp me. They were always very willing to help andfor Das Boot they built a completely new camera forme, which was fantastic.”

The prototype IIIC was subsequently used to shootmost of the film. Camera noise was not an issuebecause the nerve-shattering sounds made by thesteel-welded submarine set and its hydraulic platformnecessitated the post-dubbing of all dialogue. AnARRI III was also utilised, and was adapted to accept1000ft 35BL coaxial magazines in underwaterhousings for model shots out at sea.

Das Boot was a box-office smash and a toweringartistic success. It became the most successful foreignfilm released in the US up to that time and its recordof six Oscar nominations has yet to be matched by aGerman film. Jost Vacano describes the shoot asphysically the toughest of his career, but remembershaving no doubt at all that they were creatingsomething special. “You know after this film I workedin the United States for about fifteen years and shotmany big mainstream films there, but when I lookback, Das Boot is still one of my favourite pieces.Maybe the best one of all.” �

Mark Hope-Jones

“MY RESPONSE WAS –LET’S DO IT THE BESTWAY WE CAN DO IT, NOTTHE WAY IT MIGHT BEDONE IN HOLLYWOOD.”

�DIRECTOR WOLFGANG PETERSONdirects from the cherry picker. Behind him isthe full-scale submarine replica, which wasborrowed mid-shoot by Steven Spielberg forRaiders Of The Lost Ark.

VISIONARRI

�TIBOR 2006

�TIBOR 1957

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In March 2006, Tibor Sands began semi-retirement, following fifteen years ofservice at ARRI CSC NY, formally CameraService Center. He became beloved by the NewYork production community during his time asa Rental Agent, having previously been one ofthe city’s most respected camera technicians.Those however, are only chapters in anextraordinary story, one which is far from over.

Tibor Munkacsi was born in Budapest, Hungary in December1925, and joined a family of ten half-brothers and sisters. In 1944 he was imprisoned in a concentration camp, to beliberated nine months later by the American 3rd Army.Following six months in a refugee hostel, Tibor was given achoice of destinations and he chose England as a steppingstone to America, where his three surviving step brothers nowlived. His interest in photography eventually landed him a jobat Alfa Laboratories, at 72 Wardour Street, Soho, London as an apprentice.

Tibor SANDSA Life In Focus

45

In 1950, Tibor was finally cleared to travel toAmerica and on June 14th 1950 he landed inNew York on the liner Queen Elizabeth, ironicallydocking yards from the current location of ARRICSC NY (a colleague recently commented that hehadn’t come far in fifty-five years). He initiallyworked as an assistant to his step brother Martin,by now a famous stills photographer, before hemoved on to work with Robert Monroe havingacquired the surname Murray out of the phone bookin frustration at people’s struggle with Munkacsi.

During eight years working with Monroe in fashionand advertising, Tibor became aware of theburgeoning motion picture industry via his otherstep brother Muki who worked as an on-set stillsphotographer. He left Robert Monroe to do thesame, working on the locations of many of themajor productions shooting in the New York areain the early 1960’s, amongst them the pre-production stills for West Side Story.

Whilst doing so Tibor learnt of a shortage ofmotion picture camera assistants and so he joinedthe union and in 1961 began another phase of anextraordinary life.

Initially the work available was a mix ofcommercials, newsreels and documentaries, andTibor would often find himself working at M.P.O.stages, were he would sometimes bump into afellow assistant, Gordon Willis. A friendshipdeveloped which culminated in Gordon askingTibor to join him on his first feature film as a DP,End of the Road. They worked together oncountless commercials and nine feature films,including Klute and The Godfather.

The team was completed by another assistant fromtheir M.P.O. days, Michael Chapman, who joinedas their Operator. Tibor therefore witnessed at first-hand many of the creative challenges thatsurrounded these ground-breaking productions thatleft a lasting impact on Cinematography as weknow it today.

Now established as one of New York’s leadingcamera technicians, Tibor was increasingly in aposition to choose his projects. In between features,he was working regularly on television commercialsand documentaries. Both provided a contrast tomajor studio productions, but in particular it was ondocumentaries that he truly enjoyed a freedom andteam spirit, working closely with inspirationaldirectors and cameramen such as Ross Lowell. Thetwo worked together for over fifteen years, andTibor credits Ross with teaching him many of thelessons in set etiquette which were to stand him ingood stead of the years to come. Tibor meanwhilewitnessed the evolution of the successful Lowell Lightrange, born out of their many days on locationsearching for the perfect lighting source.

Through Ross Lowell, Tibor met “Gentleman” Jack Horton, a busy commercials DP, and anothersignificant influence upon him along with thelegendary Joe Pytka. Joe was directing and lightingtelevision commercials at Rick Levine Productions,but soon struck out on his own. A large man, bothin character and build, he made quite a contrast tohis favourite East Coast camera assistant. Oneepisode sums up their occasionally turbulentrelationship. Frustrated by an incident on set, Joeturned on Tibor and raged “I pay you all thismoney and you know nothing”, to which Tiborcalmly replied “Joe, I agree. I could teach an idiotwhat I do in ten minutes. You, it would take anhour”. Joe was so delighted by this response thathe literally swept Tibor off his feet and carried himover to the nearby agency staff and their clients torepeat the exchange.

Meanwhile there had been another significantdevelopment in Tibor’s life. In 1974, whilst cyclingin Central Park he fell from his bicycle and cut hislegs. An angel of mercy came to his rescue, in theform of Sara, and after sharing an ice cream in thePark they have been together for over thirty years.

In due course Tibor’s work opportunities began toslow down as his regular cameramen moved awayor retired. Throughout his career in New York, hisrental company of choice had always beenCamera Service Center (now known as ARRI CSC).He was therefore delighted when an opportunityarose for him to join the company full time, initiallyassisting on the camera floor and subsequentlyjoining Charlie Tammaro and his team as a camerarental agent.

Looking back on his experiences both as anemployee and as a client of a rental company,Tibor remains passionate that the key to the successof ARRI CSC, as with any great facility house, istraining. He reflects on the quality of advice andsupport that he has enjoyed over the years and hefeels strongly this is what makes ARRI CSC a trulyextraordinary organization. He is proud to havecontributed to the training of the many graduates ofwhat he refers to as the CSC University, an alumnithat includes many of the leading technicians in the industry.

And ARRI CSC is fortunate that he will continue to work part time in order to maintain that noble tradition.

Meanwhile Tibor himself is going back to school,returning to his roots and picking up a stills cameraagain. Only this time it will be a digital system andhe wants to learn how to edit his work on a laptop.

And the change of surname from Murray to Sands?Upon becoming a naturalized U.S. citizen, Tiborhad the option to choose a new name, and whenhe once more opened that trusty phone book, that’swhere his finger fell… �

Simon Broad

�TIBOR on location inLileth 1963

�TIBOR on focus on thefeature The Front 1976

�TIBOR underwaterfilming 1963

VISIONARRI

���

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UPDATEPRODUCT

ARRI Zeiss Lightweight Zoom (LWZ-1)Inspired by the ARRIFLEX 235 and ARRICAM Lite, the ARRI ZeissLightweight Zoom (LWZ-1) 15.5 - 45 is the ideal companion for hand-held, Steadicam and remote work. Sophisticated design andmanufacturing techniques, including the production of high precision,large diameter aspherical elements and the use of exotic glass materialsensures the highest optical performance despite its compact build andlight weight.

The T2.6 zoom fits perfectly with all modern ARRI Zeiss lenses, as it isSuper Colour Matched and shows similar high contrast, high resolutionimage quality and characteristics. Special light absorption techniquesand the Zeiss T* XP multi-layer, anti-reflection coating keep veiling glareto a minimum, while the aspherical lens elements reduce sphericalaberration and maintain image geometry – so straight lines stay straight,even at close focus.

FACTSCompact, lightweight zoom covering the full ANSI Super35 image area through the complete zoom range

Focal range of 15.5 to 45mm, aperture T2.6

Weighs approximately 2kg (4.4lbs)

Zeiss T* XP multi-layer, anti-reflection lens coating ensuresflare resistance for deeper, richer blacks

Superior geometry, even up close

Super Colour Matched

Ideal for the ARRIFLEX 235 & ARRICAM Lite

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VISIONARRI

FACTS50% brighter than a 12kW PAR

15° - 50° continuous beam spread, 8° - 15° with spot reflector

Lensless design

Arc-like shadow quality

Superior lamp support

Uses 18kW SE or 12kW SE lamps

Can be used with the ARRI MaxMover automated stirrup

ARRI’s newest lighting fixture, the powerful ARRIMAX 18 / 12,provides an optimum choice for productions requiring maximumlight output. Combining the variable beam spread of a Fresnelwith the light output of a PAR, the ARRIMAX uses a unique newreflector concept for beam control, which eliminates the need forspread lenses. The ARRIMAX’s optical system provides continuousfocus from 15° - 50°, while an easily interchangeable spotreflector can provide focus from 8° - 15°, allowing the immensepower of the ARRIMAX to be concentrated into an even smallerarea. Due to its unique reflector configuration, correction filters willlast much longer and won’t burn out to the same extent as oncurrent lens systems.

ARRIMAX 18 / 12

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

FACTSAutomated stirrup with universal adaptor plate

Remote control for pan, tilt and focus

Accommodates fixtures from 6kW – 24kW

80kg (176lbs) weight load

ARRIMAX 18/12 ARRI Daylight 18/12 Plus ARRI Compact 12000 ARRI Compact 6000 ARRI Compact Theatre

ARRISUN 120 ARRI X 60 ARRI T 24ARRI T 12ARRI T 12 Theatre

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

What fits the Universal Adapter Plate?

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ARRI CSC Contributes to IDA Dream Package andFrederick Douglass Documentary

�

�

shooting on film stock. He says, “As good as digitaltechnology is, film is still the only medium to provideboth a rich look of quality and a stable archivalmedium. Being able to say a project was ‘shot-on-film’ raises its perceived value, stature and flexibilityin the marketplace. It’s a plus when negotiating withdistributors. Originating on film also provides thegreatest degree of flexibility in post.”

Frederick Douglass is best known as a former slave-turned abolitionist and women’s suffrage supporter.He taught himself to read and was a widelyrespected, highly effective orator as well as anadvocate for constitutional amendments thatguaranteed voting rights and civil liberties forblacks. As an advisor to Abraham Lincoln, Douglassurged the President to issue an emancipationproclamation, which Lincoln did following the Unionvictory at the bloody Battle of Antietam in 1862.

The Storm, The Whirlwind, The Earthquake:Frederick Douglass is a documentary based onDouglass’ books and speeches. Douglass will be“interviewed” by a newspaper reporter in 1870.This material will be intercut with archivalphotographs and documents, and excerpts fromDouglass’ speeches. To obtain a period look,Phoenix, Ariz.- based cinematographer Les Bradleyof Morr Film & Video will light by utilizing andmimicking natural light and the film will be shot inhistorical locations.

Actor Mark Winn has been cast to play Douglassonscreen. Winn previously worked for StevenSpielberg and James Cameron, and has been

�KELLY AND TAMMY RUNDLE, of Fourth Wall Films

�FREDERICK DOUGLASS

News from around the world

LOS ANGELES, CA, Kelly and Tammy Rundle of FourthWall Films have won the International DocumentaryAssociation’s (IDA) annual Documentary Dream Package,an award sponsored in part by ARRI CSC that includes aSuper 16 mm camera rental. The Rundles plan to use theprize to begin production on their film, The Storm, The Whirlwind, The Earthquake: Frederick Douglass.

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

“We are very pleased to be the recipients of thesevaluable production resources,” says producer-writer-director Kelly Rundle. “The IDA is the preeminentprofessional association for documentary filmmakers. We are eager to use this award to begin an exciting andimportant historical project.”

With many documentaries opting to go the digital videoroute, Kelly feels The Storm, The Whirlwind, TheEarthquake: Frederick Douglass would benefit from

49

VISIONARRI

�

�TERRY CLAIRMONT and Denny Clairmont (left to right)

�CLAIRMONT CAMERA Los Angeles

featured in dramas and documentaries on CBS,ABC, and the Discovery Channel in addition to hisnumerous live theatre performances.

The Rundles are the owners of Fourth Wall Films, an independent film and video production company,and the producers of the critically acclaimeddocumentary feature film Villisca: Living with aMystery (VilliscaMovie.com). Villisca spent 14-months in theatres and was released on DVD inOctober 2005. They are currently in production onLost Nation: The Ioway, a documentary exploringIowa’s original Native American inhabitants, thegradual loss of their ancestral lands, and thedissolution of their unique culture.

This is the first time New York-based rental houseARRI CSC has contributed to the IDA DocumentaryDream Package. “Film is ideal for this documentaryproject because we are utilizing a reenactmentapproach that can be very carefully planned. Ourfirst historical documentary feature Villisca: Livingwith a Mystery was also shot on film using ARRIFLEXcameras, and the image quality allowed it to enjoya 49-city theatrical release. With sufficient budgetand expertise, film is still an excellent acquisitionmedium for documentary filmmakers,” says Kelly.

The IDA was founded in 1982 as a nonprofitmembership organisation dedicated to supportingthe efforts of nonfiction film and video makersthroughout the United States and the world;promoting the documentary form; and expandingopportunities for the production, distribution, andexhibition of documentary. The IDA is committed tocontinuing its efforts to increase public appreciationand demand for documentary films, videos, andtelevision programs across all ethnic, political andsocioeconomic boundaries.

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

The D-20 film-style digital camera is available throughthe ARRI Rental Group and selected partners.Clairmont Camera, with an extensive track record onthe West Coast and in Canada, not only has acomprehensive ARRI film camera inventory but inaddition a well established digital imagingdepartment, headed by Mike Condon. The ARRIFLEXD-20 will be making its West Coast debut in June2006 when Clairmont Camera will be offering thecamera from their Los Angeles branch.

Having already successfully shared the introductionof the NAC K4 “Tornado” high-speed digital camerainto the United States with Clairmont Camera, themanagement of ARRI CSC felt that continuing therelationship with the initial ARRIFLEX D-20 systems inNorth America was a natural progression.

For further information please contact the following:

Clairmont Camera in Los Angeles:(+1) 818 761 4440Clairmont Cameras in Toronto: (+1) 416 467 1700Clairmont Camera in Vancouver: (+1) 604 984 4563 ARRI CSC in New York: (+1) 212 757 0906ARRI CSC in Florida: (+1) 954 322 4545

NEWS FROM AROUND THE WORLD

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News from around the world

In response to the rapidly advancingdigitalization of postproduction,specifically, the increasing demand fordigital colour grading in DI (DigitalIntermediate), ARRI has converted theirformer “Leihpark” theatre in the film labinto a modern RGB grading suite. NowARRI Munich offer their clients two colourtiming options, both under real cinemaconditions; the high-end DI option in theLustre master suite and the inexpensiveprimary version in the new Lustre RGBgrading suite.

In the new 452 square feet RGB suite, colouristscan work the Autodesk colour correcting system,Lustre, from a central desk and alter the primarycolours (red, green and blue) of individual film set-ups dynamically as well as in tiny steps. Withthe help of an adjustable Cache the frame ratios of1:1.85 and CinemaScope can be projected in 2kquality onto the 93 square feet screen with aBarko 100 projector. To minimize light reflectionsoff walls, ceiling and floor, the room has beenlined with black textiles, while to avoid a ‘blackbox’ feeling, real wood surfaces and red theatreseating have been added. Processing is completedin the same manner as in a traditional film lab,with the three primary colours. “On the Lustre,unlike in analogue colour grading, it is possible towork on the entire frame, but also correct thesaturation of individual colours of a set-up,including black & white, selectively anddynamically, and therefore work much moreprecisely,” explains Josef Reidinger, Head of theFilm Lab. “The result can be viewed immediatelyas a preview and is of course reversible, thereby

making it possible to implement corrections for aslong as it takes the client to be one hundredpercent satisfied with the result. The 2k projectorreproduces the colours on the large screen exactlyas they will later be seen in the theatres on film.This makes for an extremely accurate match of thehigh resolution digital projection in our suite andthe film projection in theatres,” Reidingercontinues. Because of its analogies to traditionalanalogue colour grading in the film lab,Cinematographers who have not worked withLustre before are immediately familiar with thework process in the RGB grading suite. “With theprimary RGB option we provide our clients withinexpensive digital colour grading and all thepossibilities of creative composition. The client cantherefore view the final image on a large screenprior to a print or digital release,” says Reidinger.Primary colour grading with Lustre offers - as doesthe deluxe version - aside from time savings, greatqualitative advantages; the film, or parts thereof, isno longer optically duplicated and therefore suffersno generational loss. VFX shots, titles etc., can beinserted without difficulty; even a later re-cut is nolonger a problem. In addition, the trailer, teaser, aswell as HD, Pal, NTSC and DVD masters forinternational distribution are more or less anautomatic byproduct. With primary colour gradingin the RGB suite and in conjunction with theARRISCAN, opticals - such as shutter speed,motion events, frame duplication, titles etc. - arebeing offered in the digital suite.

“We have long recognized where things areheading and we will not wait until traditional filmlabs are a sign of the past. Most films today arealready being digitally graded – although they arenot being graded in theatre-like suites, as is thecase here at ARRI Munich,” explains ARRI GeneralManager Franz Kraus.

With the completion of the new Lustre/Barko RGBgrading suite for primary digital colour gradingunder theatre conditions at the film lab, ARRIcontinues its strategic, service-oriented concept forthe postproduction of national and internationalfilm projects at its Munich location. At the sametime, ARRI remains faithful to its principle: “Toalways be technologically up-to-date is part of our philosophy.”

New RGB Grading Suite in the ARRI Film Lab�

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51

VISIONARRI

ARRI Australia Ready for Take Off

On the 11th of February 2006ARRI’s new rental house, ARRI AUSTRALIA officiallyopened its doors to theindustry’s professionals. TheSydney based subsidiary ofARRI Munich will graduallyoffer a whole spectrum ofadditional services such astechnical servicing for lighting,camera and digital as well asbecoming active in the sale ofall three product groups.

Over 80 guests from the world of filmand media attended the launch party,including production staff andtechnicians such as DoP Andrew LesnieACS, The Lord of the Rings trilogy ,King Kong, Camera Assistant, ColinDeane, Gaffer Reg Garside and DoPRoss Emery, The Cave. Other guestsincluded German General Consul inSydney, Dr. Guenter Gruber, and KlausVolker Schuurman, Executive Director ofthe German-Australian Chamber ofTrade and Commerce.

With their own inventory of state-of-the-art equipmentavailable on site, ARRI Australia also have the means ofefficient logistics and direct connections to the head-officein Munich, enabling the subsidiary quick and directaccess to additional equipment. ARRI Munich will build onthe logistical experience from successfully servicing twomajor productions – The Lord of the Rings trilogy (over 20tons of equipment were shipped from Munich to variouslocations in New Zealand), and King Kong.

Already, ARRI Australia is servicing several projects –both in Sydney and New Zealand, recently completing afour week MOW in Auckland, with DoP Ivan Strasburgand Production Manager Liz Di Fiore who ARRI previouslysuccessfully worked with on Anaconda 2.

Other projects curren tly in production in Sydney include16mm TV Drama Series, Blue Water High, and HappyFeet, directed by George Miller, a 35mm multi-camerashoot which reunites ARRI with DoP Andrew Lesnie ACS.

Heinz Feldhaus, whohas over 50 years ofexperience in the filmindustry but alsoknows Australia’sexpanding moviebusiness exceptionallywell is available in hiscapacity as Advisor.With a teamcomprising fiveadditional staffmembers, the newlyfounded branch of theworldwide successfulARRI Group embarkson a very promisingjourney, and offersboth Australia’s andNew Zealand’s filmindustry the state-of-the-art technology witha wide array ofservices and support.

News from around the world�

�ARRI AUSTRALIA Technician AaronGeorge (centre) with DoP Denson BakerACS (left) and David Wakeley ACS (right)

�RENTAL MANAGER Bill Ross and Senior Client Contact Kate Walton with DoP Andrew Lesnie ACS

�ARRI AUSTRALIA’S custom built facilitiesin Sydney

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52

NEWS FROM AROUND THE WORLD

News from around the world

Following on from the success of the Tornado digital high-speed system for extreme slow-motion ARRI Media are introducing the Hi-Motion, a true high-definition high-speed camera that can integrate directly into a multi-camera broadcast infrastructure.

To be exclusively provided in Europe by ARRI Media, the Hi-Motion developed by NACImage Technology is capable of recording imagesat up to 300 frames per second, with an HDTVresolution of 1920 x 1080 pixels. At 300fps thecamera can extend one second of original fast-paced action into five seconds of stunninglysmooth slow-motion playback.

Images are captured by three state-of-the-artCMOS sensors and recorded to a solid-statememory (RAM) in the camera head. Recording at300fps provides eleven seconds of storage. Theuncompressed recording is available instantly forplayback live-to-air, with no processing delay.

So who is first to use the technology? Sky Sportshave been early adopters, using the system forcoverage of Premiership league football, and arescheduling the camera to capture action at other keysporting events throughout the rest of the year. BBCSport used the Hi-Motion on the West Ham versesLiverpool FA Cup final at the Millennium Stadium inCardiff, and ITV Sport on the Arsenal versesBarcelona UEFA Champions League final in Paris.

The current lack of HD-compliant super slow-motioncameras in the outside broadcast market and theHi-Motion’s ability to operate two and a half timesfaster than its nearest competitor makes it extremelyattractive. ARRI Media currently have a single unitwith more to follow at the end of the year.

Andy Hayford, ARRI Media’s Digital High-SpeedProject Manager, comments: “With this cameratremendously exciting slow-motion can bedelivered live, but, it is also important to point outthat although the camera is proving extremelypopular in the field of outside sports broadcasting,it is suitable for HDTV productions requiring slow-motion sequences.”

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

The Hi-Motion Speeds into the UK�

�

Hi-Motion SpecificationsAspect Ratio: 16:9Lens Mount: B4Frame Rates: 12 - 300fpsResolution: 1920 x 1080Recording Time: 11 seconds at 300fps

Pro-rata at other frame ratesPlayback: From still to 300fpsOutput Video: HD SDIPower: 110 - 220V AC

53

VISIONARRI

News from around the world

New Position Created toDevelop Digital High-SpeedCamera MarketARRI Media has recently appointed Andy Hayford asDigital High-Speed Project Manager.

Andy’s role will see him concentrate on managingand developing ARRI Media’s digital high-speedcamera business, and in particular focus onintroducing the new Hi-Motion HDTV high-speedcamera to market.

With 24 years experience in the television industry,Andy brings with him extensive experience gained invarious positions for companies such as Quantel,Sony Broadcast, CineVideo and On Sight.

Andy says of his new position: “We plan to make asignificant impact on the use of high-speed digitalcameras in various fields, including TV sportsproduction. The Hi-Motion system fits all therequirements for a full high definition camera withinstant playback capability, a standard B4 lens mountand a high performance viewfinder.”

�

�ANDY HAYFORD, Digital High-Speed Project Manager

PRODUCTION UPDATE

54

ARRI CSC Project Name Production Company Director DoP Equipment Serviced by

Commanche Moon CBS/HBO Alan Caso ASC Steve Litecky Lighting & Grip Illumination DynamicsI Think I Love My Wife Behind Prods. Inc. Will Rexer ARRICAM ST & LT ARRI CSC NYMusic & Lyrics By Castle Rock Xavier Grobet Mo Flam ARRICAM ST & LT ARRI CSC NYNo Country For Paramount Roger Deakins, ASC, BSC Chris Napolitano Lighting & Grip Illumination DynamicsOld MenPride & Glory Avery Declan Quinn, ASC Bob Sciretta ARRICAM ST & LT ARRI CSC NYReggaeton Ellen Gordon Productions Zoran Popovic ARRICAM ST & LT ARRI CSC FLStep Show Gotta Step Productions Scott Kevan Brian Gunter ARRICAM ST & LT ARRI CSC FLThe Flock Bauer Martinez Studios Enrique Chediak Steve Litecky Lighting & Grip Illumination DynamicsUntitled Noah Stonehenge Entertainment Inc. Harris Savides, ASC John Velez 2 x ARRICAM LT ARRI CSC NYBaumbachUntitled Scott Hicks Castle Rock Stuart Dryburgh Gene Engels ARRICAM ST & LT ARRI CSC NY

435 3-Perf

ARRI RENTALProject Name Production Company Director DoP Equipment

8 Miles High Exportfilm Bischoff Achim Bornhak Benjamin Dernbecher ARRICAM ST/LT, 3 PerforationBlaze Barefoot Films Reto Salimbeni Paul Sarossy ARRICAM ST/LTBlood & Chocolate Lakeshore Entertainment Katja von Garnier Brendan Galvin ARRICAM ST/LT, 435, 3 Perforation,

Lighting, GripFürchte dich nicht TV60 Film Christiane Balthasar Michael Bertl Arriflex 16 SR 3, Lighting, GripMozart Tellux Film Bernd Fischerauer Markus Fraunholz Arriflex 16 SR 3, Lighting, GripNicht alle waren teamWorx Jo Baier Gunnar Fuß Arriflex 16 SR 3, Lighting, GripMörderSchwere Jungs BOB Film Marcus H. Rosenmüller Torsten Breuer ARRICAM ST/LT, 435, 235, 3

Perforation, Lighting, GripThe Colour of Water Majade Fiction Peter Brosens, Rimvydas Leipus Moviecam Compact/SL,

Jessica Woodworth Lighting, GripUngeschminkt collina Filmproduktion Jakob Schäuffelen Stefan Wagner Arriflex 16 SR 3, Lighting, GripUnter Verdacht VIII Pro Programme Isabel Kleefeld Rainer Klausmann Arriflex 16 SR 3, Lighting, Grip

Project Name Production Company Director DoP Equipment

Blue Water High Southern Star various Russell Bacon/ 2 x 16SR3, 11-110, 10.6-180,Productions No9 Roger Buckingham Super Speeds, Modulus

Cancer Council Simon Duggan ARRICAM ST, OptimoCommonwealth Games David Knight David Knight ARRI 235Pedigree Simon Duggan 435, OptimoPepsi Lite Tristan Milani Vicki Blanche ARRICAM ST, Cooke S4, MacrosPhones Calvin Gardiner Calvin Gardiner ARRI 235, Master PrimesQantas - Footballs Greig Fraser ARRI 235Happy Feet Kingdom Film Productions George Miller Andrew Lesnie ARRICAM ST, Lite, 3 x (live action component) 435Xtreme, Ultra PrimesThe Water Horse Waterhorse Productions Jay Russell Oliver Stapleton ARRICAM Lite, OptimoUntitled “MOW” Film Factory Richard Pearce Ivan Strasburg ARRICAM ST, Lite, 2 x sets

Ulltra Primes, Optimo

ARRI AUSTRALIA

ARRI MEDIATitle Production Company Director DoP Equipment

Black Book Clockwork Pictures Paul Verhoeven Karl Walter Lindenlaub, ASC ARRICAM ST/LTButterfly on a Wheel Butterfly Productions Inc Mike Barker Ashley Rowe, BSC ARRICAM ST/LTFlawless Delux Productions Michael Radford Richard Greatrex, BSC ARRICAM ST/LTHogfather The MOB Film Co Vadim Jean Gavin Finney, BSC 2x D-20Hot Fuzz Working Title Films Edgar Wright Jess Hall 2x ARRICAM LTLosing Gemma Granada Television Maurice Philips David Odd, BSC 2x SR3AMagic Flute Magic Flute Productions Ltd Kenneth Branagh Roger Lancer ARRICAM ST/LTSharpe’s Challenge Picture Palace Films Tom Clegg Nigel Willoughby 2x SR3ATales from the Riverbank Riverbank Productions Ltd John Henderson John Ignatius 2x D-20The Golden Age Working Title Films Shekhar Kapur Remi Adefarasin, BSC ARRICAM ST/LT

55

VISIONARRI

ARRI LIGHTING RENTALTitle Production Company Director DoP Gaffer Rigging Gaffer

Children of Men Quietus Productions Alfonso Cuaron Emmanuel Lubeski/ John Higgins/ Wayne LeachPeter Hannan Peter Bloor

Death At A Funeral Death At A funeral Ltd Frank Oz Oliver Curtis, BSC Paul Toomey Andrew WatsonFlawless Delux Productions Michael Radford Richard Greatrex, BSC Peter GoddardHallem Foe Hallem Foe Ltd David Mckenzie Giles Nuttgens Campbell McIntoshHogfather The Mob Film Company Vadim jean Gavin Finney, BSC Terry Hunt Steve CortieHot Fuzz Working Title Edgar Wright Jess Hall Andrew Duncan Bernie PrenticePrimaeval Impossible Pictures Jamie Payne Adam Suschitzky Stewart KingTales Of The Riverbank Riverbank The Movie John Henderson John Ignatius Larry Park Pat MillerThe Catherine Tate Tiger Aspect John Sorapure Martin HealeySketch ShowThe Magic Flute Magic Flute Productions Kenneth Brannagh Roger Lancer Kenny Pettigrew Pat MillerThe Riddle Manuscript Productions Brendan Foley Mark Moriarty Paul SlatterThe Walker The Walk (IOM) Ltd Paul Schrader Chris Seager, BSC Phil Penfold

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURESTitle Production Company Director DoP Services

8 Miles High Exportfilm Bischoff Achim Bornhak Benjamin Dernbecher Lab, TV Mastering, DIAdrift (Godspeed) Orange Pictures Hans Horn Bernhard Jasper Lab, TV MasteringFatamorgana Enigma Film Simon Groß Peter Steuger Lab, TV MasteringPerfume: The Story of a Murderer Constantin Filmproduktion Tom Tykwer Frank Griebe Lab, TV Mastering, DI, VFXJenny Plato Film Production Sinan Cetin Rebekka Haas LabSchwere Jungs BOB Film Marcus H. Rosenmüller Torsten Breuer Lab, TV Mastering, DI,

VFX, SoundSpecial Hofmann & Voges Anno Saul Peter Nix Lab, TV Mastering, DI,

VFX, SoundSTRAJK - Die Heldin von Danzig Provobis Volker Schlöndorff Andreas Hofer Lab, TV MasteringWelcome to America Claussen + Wöbke Marco Kreuzpaintner Daniel Gottschalk Lab, DI, VFXWer früher stirbt, ist länger tot Roxy Film Marcus H. Rosenmüller Stefan Biebl Lab, TV Mastering, VFX

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALSClient Title Filmproduction Company Agency Director DoP

McDonald’s WM Store e+p commercial HEYE & Partner Agust Baldrusson Sebastian BlenkovMcDonald’s WM Burger Markenfilm Berlin CCP, Paul Kneer Michael Mieke

Heye Werbeagentur Burger King Oli Kahn zeigt Größe Lucie_p .Start Manuel Werner Christian ReinSozialdienst Termin GAP Films Xynias Wetzel Philip Haucke Pascal Remondkatholischer FrauenWWK Märkte am Morgen - Serviceplan Dritte Stefan Tischner -

WerbeagenturMicrosoft Windows Automotive Cadrage Cadrage Christof Gurland - Allianz Formel 1 R.TV Film & Fernsehen - Tobias Heppermann Thomas StokowskiSOS Kinderdorf 6 Dörfer für 2006 e+p commercial - Wolfgang Groos Armin GolianoBrustkrebs Bathroom HEYE & Partner HEYE & Partner Jonathan Helmer Alexander SachsDeutschland e.V.Deutsche Bahn WM-Bahn Card e+p commercial Ogilvy & Mather Mark Tiedemann Michael SchreitelFerrero Garden e+p commercial HP Albrecht Söhnke Wortmann Britta Mangold

Serviceplan Vierte Stabilo Schriftbild First Frame Werbeagentur Norman Hafezi Bernd WondolekING DiBa Markenfilm Helliventures Wüschner Rower Baier Joachim Hellinger

Dieter Deventer

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

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