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It’s Only Rock ‘n’ RollFive days, eighteen camerasand the Rolling Stones

The CompanyARRIFLEX D-20 shoots Cold Warminiseries for Sony Pictures TV

The Yodelling WoodchuckARRI Film & TV create McDonald’s viral

Battle In SeattleBarry Ackroyd BSC discusses shootingwith the ARRIFLEX 416

MR BEAN’SHOLIDAY

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

06/07 ISSUE 4

An Englishman abroad –interview with DoP Baz Irvine

ARRI PARTNERS & ASSOCIATES

THE WORLD JUST GOT SMALLERARRI SUBSIDIARIES

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VISIONARRI

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VisionARRI would like to thank the following contributors;Philipp Bartel, Simon Broad, Clemens Danzer, John Duclos, David Fox, Philip Gosiewski, Jochen Hähnel,Johann Hohenwarter, Mark Hope-Jones, Ingo Klingspon, D.D.Michael, Angela Reedwisch,Matthias Ritschl, Andrea Rosenwirth, Prof. Jürgen Schopper, Constantin Seiler, Marc Shipman-Mueller,Michelle Smith, Andy Subratie, An Tran, Sabine Welte, Jannie van Wyk, Tracy van Wyk

CONTENTS

4 BEAN ABROAD?DoP Baz Irvine and Producer Caroline Hewitt discuss howthey took Mr. Bean to the French Riviera

8 BERLIN ALEXANDERPLATZ: REMASTEREDARRI Film & TV restore a classic 16mm production with theoriginal DoP

10 IT’S ONLY ROCK ‘N’ ROLL...A who’s who of cinematographers capture the legendaryRolling Stones on film

12 ULZHAN: A JOURNEY OF DISCOVERYDirector Volker Schlöndorff and DoPTom Fährmann reflect on putting road movieUlzhan through the DI process at ARRI Film & TV

14 THE COMPANYThe ARRIFLEX D-20 captures four decades of CIAactivity for TV miniseries

18 HERR BELLOARRI Film & TV create visual effects and colourgrade family comedy Herr Bello

20 THE COST OF FREE TRADEDoP Barry Ackroyd BSC explains how he shotfeature Battle in Seattle using the ARRIFLEX 416

24 A NEUTRAL CORNERA Digital Intermediate case study

26 THE YODELLING WOODCHUCKARRI Film & TV Commercial renders furrycharacter for McDonald’s viral

29 JPEG2000 ON ITS WAY TODIGITAL CINEMASA new compression format explained

32 ANCIENT EGYPT GOES DIGITAL WITHTHE ARRIFLEX D-20ARRIFLEX D-20 survives the rigors of the dessertshooting action adventure Prisoners of the Sun

34 ACTRussia’s leading equipment rental company

36 ORANGE SHOOTS NEW ADCAMPAIGN IN SOUTH AFRICAMedia Film Service supplies Orange shoot

37 KENT CANDY: ART ON ICE!ARRI Film & TV Commercial creates articlandscape for candy ad

38 SILENT WITNESS GETS NEW LOOKWITH D-20BBC switches long running crime series to digital

43 MOMENTS IN TIMESergio Leone, 2 perforation and thespaghetti western

46 NEWS FROM AROUND THE WORLD

49 DID YOU KNOW?

49 TAKE TEN

50 WHEN IT COUNTSThe ARRI Rental Group introduces a new2 perforation movement

52 PRODUCT UPDATE

54 PRODUCTION UPDATE

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BEANABROAD?DoP Baz Irvine films Mr. Bean’s Holiday antics

Ten years on from his first big screenappearance, Rowan Atkinson’s childlikeand bumbling character Mr. Bean returnsthis year in Mr. Bean’s Holiday, producedby Working Title Films in association withTiger Aspect. Based on a namelesscharacter Atkinson initially developedwhile studying at Oxford, Mr. Bean wasfirst brought to a television audience byTiger Aspect in 1990 and quickly becamean international phenomenon. The 14episodes, broadcast over a period of sixyears, achieved massive viewing figuresin the UK and have been sold in over 200countries worldwide. The 1997 film Beanbroke box office records and provided aten to one return on its investment,virtually guaranteeing demand for asequel. Atkinson, however, wanted to takea break from the character, having playedhim for eight years, which accounts for thedecade-long hiatus. After at least one scriptpremise fell by the wayside, the creativeteam agreed on the concept ofMr. Bean voyaging from London to theFrench Riviera for a summer holiday,leaving a trail of mayhem and chaos inhis wake. Mr. Bean’s Holiday opened inover 30 countries within a fortnight ofrelease in March 2007, quickly becomingthe highest grossing film of the year inmany of those territories and easilygenerating Working Title’s best everinternational launch weekend.

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Producer Caroline Hewitt was involvedin discussions about how the productionwould best organise itself to followBean’s progress through France. “Wemoved offices three times, having basesin Paris, Provence and the south coast.We decided that doing this film as aproduction on the road the whole timewould have been too much.”

The goal was to make a more cinematicfilm than the first Bean feature, whichAtkinson had felt was too wordy. “Thefeel of it is different from the previousBean projects,” says Hewitt. “SimonMcBurney (Executive Producer) waskeen to make it more of a film, ratherthan purely face-pulling, which Rowanwas behind as well.”

Both the character of Bean and thesecond film’s title evoke the work ofFrench comic actor Jacques Tati, whose1953 film Les Vacances de MonsieurHulot charts the misadventures of asimilarly hapless character while onholiday in France. Though the referenceis not a direct one, the connections arethere, and it is clear that both directorand star were keen to draw on the richhistory of physical comedy in cinema.“Rowan did a lot of his own stunts,”recalls Hewitt, a feat very much in thetradition of Buster Keaton and CharlieChaplin. “It’s hard for a stunt performerto mimic his particular movements, theway he moves his limbs.”

Director Steve Bendelack came from abackground in TV comedy and had onefeature to his name, The League ofGentlemen’s Apocalypse, which wasshot on HD and released in 2005.Mr. Bean’s Holiday was shot on 35mm,though DoP Baz Irvine asserts that thispresented no real challenges for thedirector: “Steve took to the 35mm formatjust fine; he’d done a lot of commercialson 35mm, and it really doesn’t maketoo much difference in any case.”

Camera equipment was supplied byARRI Media, London. Irvine selected theARRICAM Studio as his A camera,which was used for fairly conventionalset-ups, while the B camera, anARRICAM Lite, he tended to let floataround in a more fluid way, to see whatcoverage it could pick up. He choseCooke S4 primes and AngenieuxOptimo zooms, as he likes the way theycut together. “For the early sequences inFrance I was using wide lenses quite abit, the 16mm and the 14mm.”Atkinson’s performance often involved adegree of improvisation, so the widelenses as well as frequent use of aSteadicam allowed the camera to staywith him when the crew were notentirely sure what the actor might donext. Whenever he could, Irvinepreferred to open up the lenses: “I dolike to shoot wide open, or maybe at2.8 and one-half, though usually notquite so wide on the Optimo.”

“We considered and nearly went with a2.35:1 ratio for the whole film, but itwould have made framing Rowan andthe young boy his character befriendsquite difficult because of their heightdifference, so we abandoned the idea.”A ratio of 1.85:1 was decided upon,though the story contains a ‘film withina film’ for which Irvine shot on Hawkanamorphic lenses in the scope ratio.This, combined with DV footage shot byMr. Bean during his travels, made for aninteresting mix of formats.

Irvine was keen for Bean’s progresssouth to be communicated by thevisuals: “I had this general idea that thefilm should have an arc of colour.” Hewanted the look to move from a coolerfeel for the opening in the UK to awarmer one as Bean makes his waydown through France. 81EF filtration oftungsten balanced stock was used tohelp achieve the former and someSchneider Gold to boost the latter.“We start in London, and even thoughit’s summer, the look is very drab anddesaturated. We shot on 500ASA stock,moving to 250D and by the time we gotto the south of France we were into thefull Technicolor as it were, with 50Dstock.” All of the emulsion was KodakVision2, aside from a little Fuji stock thatwas used to give the ‘film within a film’material a different aesthetic.�

“I DO LIKE TO SHOOTWIDE OPEN, OR MAYBE AT2.8 AND ONE-HALF, THOUGHUSUALLY NOT QUITE SOWIDE ON THE OPTIMO.”

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One of most difficult aspects of shootingin France was that the French authoritiesdemanded lighting diagrams for thevarious railway station locations monthsin advance of photography. This was achallenge, as Irvine did not at that stagehave any idea how the scenes would beblocked. “I had two plans; one was totry and put helium-filled HMI lightingballoons up, which I was actually ableto do at both Parisian stations, and theother was to use a Briese light, whichprobably comes more from stillsphotography but is increasingly used forfeatures. The bulb is only 2.5K, but itgives off quite a lot of light. It goes on astand with wheels so we could move itaround really easily, which was veryconvenient if I needed to quickly throwsome light on a certain area.”

In general Irvine kept his lights high upor well concealed at the stations, inorder to give Atkinson as much freedomof movement as possible. He also had towork with the ambient light, which madefor some difficult moments in Paris wherethe weather was unusually overcast andgloomy for May. By contrast the stationat Avignon, an innovatively designed

building that was completed only sixyears ago, proved an ideal location:“It is almost eyelid-shaped and all thisbeautiful soft light comes in the windowson one side. So that was a dream,I didn’t have to do anything.”

The production shot inside Le Train Bleu,an extraordinarily ornate Belle Époquerestaurant that has occupied the Garede Lyon in Paris for over one hundredyears. Their time at this location wasseverely limited and even after a returnvisit it was found when the scene beganto be edited that more material wasrequired. Irvine would have to mock uppart of the restaurant on a stage atBlack Island Studios in London. “LuckilyI had kept quite a detailed outline ofwhere the lights were, the diffusion, gelsand other details, so I was able tocreate an overall look that I thinkmatched quite well.”

Perhaps most challenging of all was ascene depicting characters on the redcarpeted staircase of the Palais desFestivals cinema at Cannes. Theproducers negotiated an opportunity tofilm this scene not only while the festivalwas running, but actually during the

premiere of a real film, a rather seriousPortuguese social drama titled JuventudeEm Marcha. “It was a mixture of carefulplanning and utter chaos,” recalls Irvine.“I’d already recced the location so Iknew the exterior and had some ideas.We decided to use four cameras andjust went there in the morning to plot itout. The angles we chose meant we’dalways have coverage, but in terms ofplanning what the performers would doon the carpet, it was very tricky, we justhad to turn over and get what we could.The great thing was that it was for real;there was a genuine crowd there and alot of people on the red carpet wereunaware of what we were doing.”Three of the cameras were on tripods or

“I HAD THIS GENERALIDEA THAT THE FILMSHOULD HAVE ANARC OF COLOUR.”

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step ladders, while the fourth washandheld by Second Unit DoP Chris Plevin.There were so many press camerasaround them that relatively few peopleeven realised a film was being shot.

In general the experience of filming inFrance was a positive one. “Culturally itwas really good,” comments CarolineHewitt. “There was a lot of problemsolving; it was fantasticallycooperative.” Irvine is full of praise forthe French crew: “They’ve all come outof film school and have a real passionfor filmmaking.” The French shoot endedwith a couple of weeks at a studio inNice, where a lot of the scenes that takeplace in a cinema at the end of the filmwere photographed. The intention hadbeen to shoot some film rear projectionfor a night-time driving sequence while

in Nice, but time ran out and it had tobe postponed until the crew returned toEngland. Chris Plevin had photographedsome plate shots on a dual carriagewayin France, though it was not immediatelyclear if these would be appropriate. “Ihad more time once we were back inLondon to think about what I wanted todo,” says Irvine. “I’d read about thepossibility of digital back projection, so Igot in touch with Lester Dunton at Elstreeand discovered that we could verysuccessfully use the plates we hadalready shot with this process bytransferring them to video. The appeal tome was that the performers would beable to actually see the plates behindthem in the rear view mirror, whichallowed them to react in a moreauthentic way. Another interesting

“I THINK THERE’S A POINT WHEREYOU CAN PLAY WITH THE IMAGETOO MUCH AND IT PICKS UP AKIND OF ELECTRONIC FEEL, SOI TRY NOT TO STRAY TOO FARFROM THE ORIGINAL.”

aspect of the digital set-up was that Icould also project a moving light effectonto the car and the actors which wassynced to the back projection and gaveme the exact colour rendition I needed.”

The film contains over 350 VFX shots,which were put together at FramestoreCFC in London, where Irvine also spentthree weeks in a DI grade with ColouristAdam Glasman. “The hardest thingabout the grading was that we werehaving to work to a tight release datebut the edit wasn’t fully locked, so I hadto start grading reel two, when ideallyyou’d start grading with reel one.Nevertheless the DI process was greatand I had a really good workingrelationship with Adam.” Irvine wasable to balance and accentuate his ‘arcof colour’ in the grade, but was cautiousabout pushing the images too far. “Thething you have to be careful with in theDI is that the film doesn’t start to lookoverly graded. I think there’s a pointwhere you can play with the image toomuch and it picks up a kind of electronicfeel, so I try not to stray too far fromthe original.” �

Mark Hope-Jones

VISIONARRI

� GETTING READY for a take, on camera is Operator Philip Sindall

� DoP BAZ IRVINE lines up a shot, below is Grip Pascal Delauney,Grip Damien Auriol, Operator Philip Sindall, 1st AC John Jordon(left to right)

� DoP BAZ IRVINE, Director Steve Bendelack discussing a scenewith Rowan Atkinson, Gaffer Lee Walters (left to right)

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Recent technological innovations in the realm ofdigital film processing, a significant amount of whichhave been developed and implemented at ARRIMunich, are making all this possible.

The digital remastering of Berlin Alexanderplatz,which was closely watched by the internationalcommunity, wouldn’t have been possible without theevolution that digital post production is currentlyundergoing. The Rainer Werner Fassbinder film, atrue work of art, was shot between June 1979 andApril 1980 at original locations in Berlin and in theBavaria Studios in Geiselgasteig/Munich on 16mmnegative and was digitally processed and restored in2006 at ARRI Munich.

The 16mm material, more than 15 hours of film, werescanned at ARRI Film & TV with the ARRISCAN at a2K resolution, retouching each individual framedigitally and completing primary colour grading inthe RGB grading suite (Colour Graders: BiancaStumpf, Boris Link). The artistic direction of thisextensive undertaking, to make a theatrical as well asa DVD release possible, was in the hands of the thenDoP, Xaver Schwarzenberger. “I colour gradedeverything again,” he explains.

“We shot the film on 16mm, which was arequirement back then and the standard in televisionproduction, because no one really thought about‘later.’ Today, we know that it would have been muchbetter to shoot on 35mm. The significantly cheaper16mm material was probably never questionedbecause during the preparation no one could foreseethat Fassbinder would shoot in the phenomenal oneto three ratio, which, in the end, saved us about threemonths of shooting and a lot of material and labexpenditures,” says Juliane Lorenz, without whosetremendous efforts and tireless commitment this grandproject would have never been accomplished.Juliane Lorenz, back then the Editor of Rainer WernerFassbinder’s films and today the President of theFassbinder Foundation, was in charge of the entirerestoration process.

BerlinAlexanderplatz:RemasteredThe possibilities that digital restoration, combined with evolving technology,creates for the archiving of artistically relevant and commercially viable films willcontinue to gain importance in the future. Especially, since a great number of thesefilms exist only in analog versions and in conditions rendering them unusable forprojection, let alone distribution and commercial exploitation.

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“We did a lot of tests with several differentcompanies but ARRI just delivered the best technicalquality. Therefore, it became a condition that ARRI,because of its technological capabilities and itsknow-how, would execute the essential restorationtasks and the digital remastering. Any other companyin Germany couldn’t have accomplished this,” saysLorenz. “With the ARRISCAN each individual framewas scanned twice in a double-exposure-process.The entire f-stop range of an exposure, eleven levelsto be exact, which are in the 16mm negative, werecaptured,” she continues.

Berlin Alexanderplatz: Remastered celebrated itshighly praised premiere at the 2007 BerlinaleInternational Film Festival. Now, the work thatFassbinder had shot for television is available as a35mm print, an HD-master for DVD releases andtelevision broadcasts, as well as on LTO3 reels forlong- term archiving purposes. The box set of BerlinAlexanderplatz: Remastered, consisting of six DVD’s(including an extensive ‘the making of’ segment) wasreleased through SZ-Cinemathek. The “digitalremastering” effort was a joint venture of ARRI,CinePostproduction and Bavaria Film. �

Jochen Hähnel

� JULIANE LORENZ, President of theFassbinder Foundation

� CREW

� RAINER WERNER FASSBINDER and Hanna Schygulla during a rehersal

�POSTER for Berlin Alexanderplatz

“…FASSBINDER WOULD SHOOT INTHE PHENOMENAL ONE TO THREERATIO, WHICH, IN THE END, SAVEDUS ABOUT THREE MONTHS…”

�

©Ka

rlReiter,RW

FF

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It’s Only

� Declan Quinn ASC

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The venue was the Beacon Theatre,a legendary Blues/Jazz/Rock venueon West 74th St. and Broadway inNew York City. In October 2006 highprofile personalities from theworlds of politics, music and featurefilm converged to pay homage tothe legendary Rolling Stones, withMartin Scorcese and his crew thereto capture the moment on film.

ARRI CSC NY provided 153 perforation ARRICAM Studio, Lite,ARRIFLEX 535B, 435 & 235 cameras,one 4 perforation ARRIFLEX 235 cameraand two of the new ARRILFLEX 41616mm film cameras for RobertRichardson ASC. He was supported bya who’s who of American and EuropeanCinematographers. This long listincluded Pat Capone, Dave Dunlap,Robert Elswit ASC, Tony Jannelli, ChrisHaarhoff, Luckasz Jogalla, Ellen KurasASC, Robert Leacock, Andrew LesnieACS, ASC, Emmanuel Lubezki ASC,Anastas Michos ASC, Andrew RolandsSOC, John Toll ASC and Declan QuinnASC during the three days of rehearsaland two days of shows.

“All of the cameras operated flawlessly,”reports Philip Gosiewski, TechnicalSupport Coordinator for ARRI CSC inNew York. “Considering the enormousamount of pressure that RobertRichardson and his team were under toperform there was not one technicalproblem, either mechanical orelectronic, during the five day shoot.And not one item missing, a tribute toan amazing crew.” The documentaryshot over 150,000 feet of 35mm Kodakfilm each night including some blackand white film with the handheld 416s.

The performers who joined the Stonesfor the concert included legendaryChicago Blues Guitar Player Buddy Guy,Jack White of the popular folk/rock duoWhite Stripes and Pop Diva ChristinaAguilera. The documentary harks backto Martin Scorsese’s 1978 rockdocumentary The Last Waltz. To add tothe historical flavor of the event, veteranfilmmaker Albert Maysle was on hand tocapture some of the event with his owncamera crew. Mr. Maysle, who alongwith his brother David shot theacclaimed Rolling Stones documentaryGimme Shelter in 1970, visited theStones during the five day shoot andprovided continuity between his original

Stones documentary, not only by hismere presence, but by offering neverbefore seen footage from it for use inMr. Scorsese’s latest film project.

The first performance by the Stonescelebrated the birthday of formerPresident, Bill Clinton. Many peoplecontributed $10,000 a ticket to attend,the proceeds of which were donated toClinton’s foundation that provides reliefinternationally to victims of AIDS andother serious diseases both physicaland social.

A sad footnote was the passing oflegendary music Producer Ahmet Ertegunof Atlantic Records, who died onDecember 14, 2006 following a fallbackstage while attending the concert.Mr. Ertegun is credited with discoveringsuch famous musicians as Aretha Franklin,Cream, Led Zepellin etc. during hismore than six decade career in themusic business.

ARRI CSC NY also contributedadditional lighting and grip equipment tothe concert, one of the first productionsto be serviced out of their new facility inSecaucus, New Jersey. �

Simon Broad / Philip Gosiewski

Rock’n’ Roll...Five days, 18 cameras, one world famous band, a two time Oscar winning cinematographer,the director of, amongst other classic films Goodfellas and The Departed.It would be a challenge for most equipment rental companies. Add in the timing – the busiestperiod of production in New York in recent memory – it made for quite an adventure.

� Robert Richardson ASC� Andrew Lesnie ACS, ASC� Ellen Kuras ASC

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The script for Ulzhan was written by Jean-ClaudeCarrière, who in the past has worked withrenowned directors such as Luis Buñuel, Peter Brookand Louis Malle. Carrière has also previouslycollaborated with Ulzhan’s Producer/DirectorVolker Schlöndorff on the The Tin Drum andA Love of Swann.

Ulzhan was produced by Volksfilm Berlin(Volker Schlöndorff), Fly Times Pictures Parisand Kasachfilm Almaty. Funding for the film, aco-production with Bayerische Rundfunk (BR), wasprovided by the Medienboard Berlin-Brandenburg(MBB) and Eurimages.

A Quiet, Scenic Road MovieAlthough filmed in Kazakhstan under extremeconditions, Volker Schlöndorff achieved impressiveresults. Shot in Super 35 with a ratio of 2.35:1,DoP Tom Fährmann completed filming in 38 daysusing an ARRIFLEX 535, rented in Kazakhstan, anda set of Zeiss prime lenses from ARRI Rental, Munich.All lab, 2K colour grading and VFX work wascompleted at ARRI Film & TV Services in Munich.

“The film is a scenic road movie with breathtakinglybeautiful images,” raves DoP Tom Fährmann. Theteam though, was often forced to work under themost extreme conditions. “We had to improvise alot. It wasn’t easy logistically either and ofteneverything seemed quite impossible. For example,when the transportation of equipment and lightinggear from one location to another didn’t work out –not least because of the tremendous distances andthe rough terrain,” explains Tom Fährmann. Afterall, Kazakhstan, with its 1,052,085 square miles,is the ninth largest country in the world. Whencompared to Europe, it covers an area stretchingfrom Spain to Poland and from Sweden to Italy.

“As we weren’t shooting under European conditions,we wanted to have as much leeway during digitalpost production as possible. Of course we knewwhen we were shooting what the final look of thefilm was going to be, so I practically shot ‘blind’ fortwo months. But I always took digital photos. Igraded them in Photoshop and burnt them ontoCDs, which I sent via courier to Munich along withthe negative. The colourists at ARRI used the photosas a frame of reference, which worked out verywell,” recalls the DoP.

Ulzhan tells the story of a French historian who, driven by a mysterious force,decides to go on an 1800 mile journey across Kazakhstan. When his carbreaks down his urge is still so intense that he decides to continue on by foot.The people he meets on his travels are as mysterious and foreign as thescenery. Among them is Ulzhan, the daughter of a horse trader, who followsand rescues him during a sandstorm. It is the story of a quiet battle between aman, who wants to give up, and a woman, who is determined to save him.

� DoP TOMFÄHRMANNon location

��DoP TOMFÄHRMANNwith the 535

� MAIN ACTRESSAyanat Ksenbaistarring in her first role

��DIRECTOR VOLKERSCHLÖNDORFF withmembers of the crew

AJourneyofDiscovery

Ulzhan

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X-ray Damaged NegativeDigitally Repaired at ARRIDuring the shoot, negatives en route tothe lab, were damaged when they wereX-rayed during a security check at theairport. The negatives were prematurelyexposed and the grain became verypronounced, leaving the image lookinggrainy and foggy. “That’s why I praisedigital possibilities. Without them wewould have lost several sequences, whichwe could not have re-shot as the locationswere thousands of miles away. A re-shootwas out of the question, due to time andbudgetary constraints. To know that thistype of damage can be digitally repairedis very reasssuring. Especially since thisparticular problem will occur morefrequently in the future with securityrequirements at airports increasing, butalso because insurance companies don’tcover this kind of damage,” explainsVolker Schlöndorff. “This was a greataccomplishment of the crew at ARRIDigital Film. At first, none of us believedthat anything could be salvaged.”

Clear Optical Rigor DuringDigital GradingThe final colour grading of the film wasimplemented in the Lustre Grading Suiteby ARRI Colour Grader TraudlNicholson. “We got everything to come

out as perfectly as we intended,” reportsVolker Schlöndorff and his DoP.“2K colour grading with Lustre is adream come true. I can’t think ofanything else that we would need toincrease our creative control. It really isstate-of-the-art, in terms of being able toachieve the look of a film exactly as onehad imagined,” continues TomFährmann, who has digitally colourgraded four of his other films at ARRI.“If you know what you want to accomplishand have had experience, then it allgoes very quickly and easily. This waspartially due to the professionalism andknow-how of Traudl and partially due tothe fact that we had a clear vision ofwhat the film was supposed to look like.I believe that during digital colourgrading, optical rigor is extremelyimportant, otherwise you can get lostwith the many creative options at yourdisposal,” states the DoP, who was moreor less on his own with Traudl Nicholsonduring the colour correction in the LustreGrading Suite at ARRI. “Duringapproval, Volker Schlöndorff lookedat the result, hugged us andsaid: “Beautiful!”

However Director Volker Schlöndorff stillhas some concerns about the DI process:“For me, digital grading was more of adiscovery than an experience, because I

am used to the photochemical processof photography, and at first thepossibilities overwhelmed me. As amatter of fact it was almost frightening,especially if you believe that film andlenses are an objective gauge toobserve and capture the world, only torealise that everything can be altered.That of course is not a technical issuebut a philosophical one,” VolkerSchlöndorff points out, “The positiveaspect is, it is possible to balance andimprove everything.”

VFX Processing at ARRIDigital FilmAside from taking on the colourgrading, ARRI also produced variousvisual effects for the project. Forexample, the scenes featuring a starrysky had to be inserted later, just like thesand and the snowstorm scenes, whichwere shot at 11,000 feet during intensefog. The sandstorm had to be amplifiedand the fog adjusted, to produce abalanced image. “Like on every project,it was very important to me to makeeverything look absolutely realistic. Insuch a quiet film, it is particularlyimportant that the audience can’t tell thatthe picture was digitally enhanced inone way or another,” explainsDavid Laubsch, Senior CompositingArtist at ARRI Digital Film. “David hadvery little time and worked on theimages with great care,” commentsDoP Tom Fährmann.

The production company was veryhappy with the post production resultthat ARRI delivered on Ulzhan. “I haveworked with ARRI for 40 years now,and every time I feel very much at homehere. We have a relationship based ontrust. Everyone pulls together as a teamto make a good film, and I think thatwe have accomplished this exceptionallywell – again,” concludesVolker Schlöndorff. �

Jochen Hähnel

1414

In 2002, acclaimed thriller writer Robert Littell published histhirteenth novel, The Company. Subtitled ‘A Novel of the CIA’,the book skillfully blends fact with fiction in its multi-generational examination of the agency’s activities between1950 and 1995. Encompassing historical events including theSuez Canal Crisis, the botched Bay of Pigs invasion and theCuban Missile Crisis, the story follows the private andprofessional lives of agents through some of the mostturbulent times of the Cold War.

TheCOMPANYARRIFLEX D-20 relivesthe Cold War

©ErikHeinila

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When Sony Pictures acquired the filmrights the project was initially slated as afeature, but it soon became clear that thesheer density and volume of the material– the book weighed in at nearly 900pages – meant that television would be amore suitable medium. ExecutiveProducers Ridley Scott, Tony Scott andJohn Calley teamed up with SonyPictures TV to create a six-hour miniseriesfor broadcast on Turner Network

Television. A star-studdedcast was assembled, includingChris O’Donnell, Michael Keaton,Alfred Molina and Tom Hollander,while Mikael Salomon took the reinsas Director and Ben Nott as DoP.

Chris O’Donnell plays Jack McCauliffe,an idealistic young Yale graduate

recruited into the CIA at a time when theagency is waging an ongoingunderground war with the KGB. He istaken under the wing of a shadowy fieldoperative codenamed ‘The Sorcerer’(Alfred Molina) in Berlin and begins hisdouble life within the bleak, clandestineworld of agents, assassins and moles.�

�ON LOCATION: 1st AD Michael Zimbrich, DoP Ben Nott,A Cam OP Michael Carella, Director Mikael Salomon (left to right)

© Jan Thijs© Erik Heinila

THE COMPANY

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The Company was shot on three ARRIFLEX D-20cameras, supplied by ARRI Rental in Germany, fromwhere the lighting and stage equipment was alsosourced. Producer Robert Bernacchi, who hadcollaborated with ARRI Rental on previous projectsincluding Underworld, The Cave and Blood andChocolate, was keen to use them again, commenting:“I think it is the people at ARRI who make thedifference; they are always warm and eagerto please.”

This established relationship was also crucial in thedecision to opt for the ARRIFLEX D-20: “My historywith ARRI and Sony Picture TV’s desire to shoot ondigital were the decisive factors,” continuesBernacchi. “We chose digital because we weremaking a miniseries for television and cost was afactor. The choice came down to the Genesis and theD-20; ultimately it was the cost-benefit-ratio that led usto the D-20.”

The ARRIFLEX D-20 is much more than just another HDcamera. Equipped with the same ergonomic featuresas a 35mm camera, it is extremely easy to handleand can be fitted with any PL-mount 35mm format filmlens. The ARRI shoulder-set and low-mode bracketallow for easy hand-held and Steadicam operation,while an optical viewfinder similar to that on theARRICAM cameras and the ARRIFLEX 435 gives theD-20 a clear and bright look-through. The depth offield also corresponds to that of a 35mm camera,further separating the D-20 from regular 2/3” chipHD cameras and making the look it achieves morecomparable to 35mm film.

Martin Lorenz, Camera Technician at ARRI Rental inMunich, was on set for much of the shoot and tookcare of the three ARRIFLEX D-20s as well as theadditional film cameras (ARRIFLEX 435 and 235),which were used for high-speed shooting. Therecording device for the D-20s was a Sony SRW-1(HDCAM SR Recorder) set to 4:4:4 colour space,the highest HD quality possible.

Lorenz explains: “The D-20 is fairly easy to use; thecamera is designed to be operated just as one wouldoperate a film camera. It isn’t as complex as other HDcameras; for example, you have to select the whitebalance and the speed (50,100, 200 or 320 ISO),but as soon as these choices are made, the system isready to be used. The D-20 comes with a waveform

monitor that can be used by the DoP in controlling thelighting. We suggest using a picture monitor with fullHD resolution to be able to judge the focus; thismeans that a lot of the work usually done in the lab,or during scanning, can now be done on set. ForThe Company we used three HD monitors, one foreach D-20; this enabled us to check the focus andmake adjustments accordingly. It was an advantageto have immediate control over the material,especially since the night shoots required shootingwith an open aperture. The equipment was usedunder extreme conditions. In Budapest, for example,we had to shoot a lot of explosions, and although thiswas very demanding on the cameras, we had nooutages. Sure, occasionally, an antenna can breakoff, but the cameras were always running. They wereas dependable as the ARRIFLEX 435.”

“THE EQUIPMENT WASUSED UNDER EXTREMECONDITIONS… WEHAD TO SHOOT A LOTOF EXPLOSIONS.”

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VISIONARRI

The plot of The Company is trulyinternational and involves stories that flitbetween Moscow, Berlin, Budapest,London, Washington and Cuba. Thispresented quite a challenge for theprogramme-makers, as it would be fartoo expensive to actually travel to all ofthese places, yet believable locationswere vital. “We used Toronto asWashington, Budapest as Budapest butalso as Berlin and Moscow, and PuertoRico as Cuba,” explains RobertBernacchi. “The reasons for choosingthese locations were cost, tax incentives,and the locations we found.”

Co-executive Producers on thisdemanding miniseries were David W.Zucker and David A. Rosemont;Co-Producers were Rola Bauer, JonasBauer and Tim Halkin of Tandem

Communications, who also handledworld sales. Halkin comments: “We wereenthusiastic from the moment we firstread the script; we knew this was perfectinternational ‘event’ programming.It is a story that touches all of us.The Company is not just your typical CIAfilm; it is also about the personal lives ofmany people, of entire nations, whosuffered during this war that wasnever officially declared. It is highlyemotional and yet incorporates a lotof action sequences.”

“I was impressed with how involvedRidley Scott and John Calley were, notjust during script development andcasting, but also in the post productionphase. I was so glad that Ridleyunderstood how important it was to castexcellent European actors in the major

European roles, not Americans whowould try to do an accent. The fact thatRidley and Tony Scott as well as JohnCalley were open to making this aninternational production and were opento our suggestions was the greatest partof developing this series.”

The Company, with a budget of $38m,is certainly a high-end televisionproduction. “It would have been adream cast for a feature film,” saysHalkin. “And it was a dream cast for atelevision series. The sets, the locationsthe stunts, everything was veryelaborate. You have to keep in mind thatthis story takes place over the course offorty years, meaning that make-up,costumes, props, cars and so forth hadto reflect the times of the sixties,seventies, eighties and nineties.Everything changed constantly; it requiredgreat efforts to realise all of this.”

“Many scenes were shot on set aspractical stunts,” continues Halkin. “Ipersonally watched a few things inBudapest, for example a tank crashinginto a tram. This scene was not shot infront of a blue or green screen andfinished in CG. Sure, there are somescenes that were enhanced by CG work,but for scenes such as the Bay of Pigslanding in Cuba, actual ships were used.”

The story, the first-rate cast and the highproduction value speak for themselves.Tandem Communications has alreadysold the series worldwide, receivinggreat feedback. “I am very glad that theinternational market welcomed thisproject just as much as we did,” saysHalkin. “I love television, that’s why Iwork in this sector. The Company is thekind of project that makes me proud tobe in this business.”

The Company airs on U.S. television(TNT) in August 2007 and in Europe(Germany on Sat1, UK on BBC2), inautumn 2007 (subject to change). �

Andrea Rosenwirth

� DoP BEN NOTT

� THE CAMERA CREW: 2nd AC Nicole Blanchard,B Cam OP Tim Merkel, A Cam OP Michael Carrella,DoP Ben Nott, 1st AC Jayson Clute, Loader KristaTeaque, Camera Trainee Brian Cassar

� THE CREW prepares the ARRIFLEX D-20

�

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Herr

BelloAfter a successful collaboration on the Collina Film Production Der RäuberHotzenplotz ARRI Digital Film was called on again and entrusted with thecolour grading in the Digital Intermediate as well as the design of the elaboratevisual effects and credit sequences for Herr Bello.

Based on the acclaimed children’s best seller book Herr Bello und das blaue Wunder the plot tells the taleof Max (Manuel Steiz), a 12 year old boy who convinces his father (August Zirner) to give a home to astray shaggy dog “Bello” as an addition to their household. Everything seems to be going smoothly butthen, with the help of a mysterious potion, Bello turns into a human with hilarious consequences for Max,his father and the next door neighbour (Sophie von Kessel).

VISIONARRI

19

“It was quite clear to us, that, afterseveral successful collaborations onprevious projects we would partner upwith ARRI once again,” said ProducerUlrich Limmer, with ARRI providingcamera, lighting and stage equipmentas well as all lab services for this latestCollina Film production. Along with thecolour grading in the Digital Intermediatethe post production phase ended with asound mix on ARRI’s Stage 1.

Herr Bello is the latest project from theteam behind the highly successful andaward-winning Sams films: BenVerbong, Director; Paul Maar (the fatherof Sams), Screenwriter & children’s bookAuthor and Ulrich Limmer, Screenwriter& Producer. The renowned Composerand Songwriter Konstantin Wecker wason board to write the score to the film,featuring guest appearances bythe Badesalz Duo andBarbara Schöneberger.

Herr Bello was produced by the CollinaFilmproduktion GmbH and co-producedby Constantin Film and B.A. Produktion.The film was shot over 40 days inWasserburg, Regensburg, Ampfing,Ebersberg, Feldkirchen, Lake Ammerseeand in Munich. The wildly funny comedywas funded by the FFF FilmFernsehFondsBayern, the FFA Berlin and theBayerische Bankenfonds.

In the post production phase ARRIDigital Film created many of the filmsvisual effects: the transformation of thedog into Herr Bello, the rapidly growinggrass, the swirling swarms of flies, thedancing chicken, and even the pigsitting on the couch. The sequence of thetalking dog was produced incollaboration with the post productionhouse UPP with the animation of theopening credits created by ARRI’spartner punchin’ pictures. Philip Hahntook on the role of Post ProductionSupervisor and Jürgen Schopper that ofCreative Director and VFX Supervisor.All visual effect setups and the animatedcredit sequences were developed withthe help of storyboards which were thenworked out shot by shot. After assistingthe actual filming, the visual effects wererealized, which were then seamlesslyfed into the colour grading workflow inthe Digital Intermediate. DoP, Jan Fehseand Colour Grader Traudl Nicholsonhad a clear vision of the particular lookthey wanted to create and were happywith the results providing children andparents alike with a bright and colourfulwarmhearted comedy. �

Prof. Jürgen Schopper

� ON SET: Director Ben Verbong, ProducerUlrich Limmer and a member of the crew

� VFX SUPERVISOR Jürgen Schopper

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20

The anti-globalization movementin the US came of age onNovember 30th 1999, when acrowd of over 50,000 protestorsbrought the opening of theWorld Trade Organization(WTO) Ministerial Conference toa grinding halt in Seattle,Washington. Activists from allsections of society andrepresenting groups rangingfrom local student bodies tointernational NGOs had plannedthe protest for months, united by

a conviction that the WTO wasserving the interests of bigbusiness at the expense ofworkers, the environment andcommunities. A small minority ofanarchistic protestors, dressed inblack and bent on a moredestructive form of direct action,vandalized a number ofspecifically targeted commercialoutlets including McDonalds,Starbucks and Nike. Riot policeunits responded to their owngradual loss of control by firing

tear gas, rubber bullets andpepper spray directly into thecrowds. The National Guardwas deployed in an effort totransport delegates to WTOmeetings and a curfewsuspending the constitutionallyprotected right to demonstratewas imposed by Mayor PaulSchell. The battle for the streetsof Seattle was on, and wouldwage for several days to come.

The Cost ofBarry Ackroyd BSC on BATTLE IN SEATTLEShot on two ARRIFLEX 416 cameras supplied by ARRI Media, London

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Free Trade

VA: You’ve often worked with wellestablished directors such asStephen Poliakoff and Ken Loach,where as Battle in Seattle is theactor Stuart Townsend’s directorialdebut. Can you describe theworking relationship?

BA: I’d worked with Stuart on Under TheSkin, which is visually a favourite ofmine, and another film called TheEscort. He called up and said “I’ve gotthis film I’ve been writing for four yearsand I’d really like you to shoot it.” So Ithought ‘Oh God, it’s probably a

romantic comedy,’ because that’s whatI thought he was doing, but it turned outto be Battle in Seattle. He’d written avery clever script and had managed toget $6m from a Canadian producer, sowe had to shoot in Vancouver becausethe money was there. Stuart’s partner isCharlize Theron and he knows WoodyHarrelson, who is an activist and wantedto be in the film, so there were somegood people attached to the project.

He asked a lot of advice at the start butI’d always say “Oh I don’t know, let’swait and see. Put it up in front of us andwe’ll shoot it – empty your mind.” Thenhe’d say “Let’s do some storyboards”and I’d say “Oh God, yeah OK.” So Iended up storyboarding the firstsequence with him and a storyboardartist, just to make people feel that weknew what we were doing. But once westarted shooting he relaxed into it andthere was no problem. And it was thesame with the actors – they said “Whydoesn’t everyone shoot like this? Justgive us the space and we’ll movearound; you don’t have to tell us to hit

marks and that sort of thing.” Stuartactually had a solid understanding ofwhat he needed from the film but hehad a real openness about how to getit; openness to the actors and thecamera team. He gave us the space toget the film the way he wanted it.

VA: The film has been shotentirely on ARRIFLEX 416Super 16 cameras. How was thisdecision made?

BA: We had a good period of prep, whichwas useful because we got the camerassorted early. We’re using a lot of footagethat was taken on the day, on video,and that’s why I chose 16mm. There waspressure to use 35mm in fact, from theCanadian producers, so it wasn’t just abudgetary decision, it was a choice.Obviously it helped the budget go furtherbut it was a choice. HD was originallyslated, but that quite quickly changed to35mm. And then I had to write a kind ofbrief saying these are my reasons forwanting Super 16 and this is my creativedecision, and in it I listed a lot of films �

� GUEST DoP HASKELL WEXLER ASC

� DoP BARRY ACKROYD BSC

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THE COST OF FREE TRADE

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that were shot on the format, to make the producersaware of what could be achieved. Getting the 416son board helped my case; we had a downloadfrom ARRI and could show the producers that thisis where film is going to go, that we would be atthe forefront.

Like all these tools, you don’t think of one thing asnecessarily replacing another. 35mm is absolutelyright for the majority of films I think, while 16mmwill be right for a certain number of films and HDwill suit other projects still. But how you get fromthe inception to the screen is our job, and ourchoice. When I heard about the BBC’s decision on16mm, turning round and telling Britishcinematographers that they can’t use this piece ofequipment, it’s like chopping off your arm. Go andtell Stephen Poliakoff he can’t use 16mm, he’dchew your head off.

VA: You mentioned that documentaryfootage shot at the time is incorporated.Does that mean that the look for thewhole piece is quite documentary?

BA: Yes the feel is documentary, but we weren’ttrying to replicate what was done on the day, wewere trying to locate our characters and our storyin the reality of what happened that day. Thesedemonstrations involved 10,000 people and wewanted to give that feel, but mainly by cutting tothe footage and actually showing the people whowent out and did it. We filmed briefly in Seattleand had a lot of support; something like athousand people turned up, many of whom hadbeen there on the day, to give us a bigger crowdto film. By using long lenses and shooting it theright way we gave the impression there were tentimes as many people there.

The other brief we came up with, which was similarto what we did on United 93, was this multiplepoint of view idea. I think this is one of United 93’sstronger points, the approach of not using just onecamera position, or two, but shifting for every takeso the audience feels in the midst of events and thereality is heightened. And it runs into the editing;we had this young Editor on Battle in Seattle,Fernando Villena, who normally cuts documentaries,and I worked closely with him in the evenings,thinking about how to assemble it all. It gave methe freedom to shoot from perspectives that

wouldn’t necessarily cut together in theconventional way, because I knew he could makeit work, and once he got the material he wasjust amazing.

VA: You’ve talked about utilising long,overlapping takes on United 93. Was thisalso something you carried over to Battlein Seattle?

BA: Again, yes. That’s where the 16mm comes ingreat; you can have a 10 minute magazine. I don’tthink we actually did a full 10 minute take on Battlein Seattle, but having the freedom to do it if weneeded, and then go quickly into another take, wascrucial. And we were shooting with two camerasthe whole time. I met up with a great CameraOperator, Scotty McDonald, and we just kind of hitit off, he understood what we needed straightaway. We shot the first scene by nine-thirty on thefirst morning. Stuart said “That’s it” and I thought‘No, are you sure?’ I was all over the place, butluckily Scotty got all the good shots. Then I calmeddown and we just kept that rhythm together – “I’llgo here, you go there.” Occasionally we’d be onthe same shot at the same time, but often that’s aninteresting perspective. I brought my experience toit, Scotty brought his.

We actually shot almost entirely with zooms; I thinkwe sent the primes back. We were zooming all thetime – observational operating – finding what’shappening in the shot. It has two effects; one is youfeel completely attached to the action and the otheris that you can be continually selective, which isuseful when you have a whole group of people andsome are acting well while others are not. I find itstimulating because your eye and mind and handare all flowing together, and when it’s all working –the focus puller staying with you and the gripguiding you and the shot continuing on – it’s greatbecause every frame is potentially precious.

The actors love it, because they have to stay sofocused. It comes from Ken Loach actually, and in

“HASKELL WAS SO PROUD OFUS USING 16MM CAMERAS.HE CAME UP FOR A DAY TOSHOOT WITH US AND WEALSO PUT HIM IN THE FILM.”

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terms of the photography from Chris Menges BSC,who helped to develop this style. But he gets it fromBrian Probyn, and that comes from the Hungarianfilmmakers of the sixties, so there’s a long line ofconnections, as with all history. The challenge is totake it to the next level and that’s what I hope to do,though with respect to what has come before.

VA: The filming took place at the same timeof year as the actual incidents took place.Did you have much difficulty matching upwith original footage?

BA: If you look at the original footage from 1999 itwas nearly always grey, with the occasional bit ofmilky, wintry sunshine, so I wasn’t too worried aboutbeing able to match. We were shooting a lot ofexteriors surrounded by the high buildings ofVancouver and in November, with the sun at aboutthirty degrees in the sky, you’re very rarely going toget blasted out by sunlight. Even if you do, you knowthe sun is going to disappear behind a buildingagain pretty quickly.

You also need luck, and we carried our luck with us.For two days of the shoot there was record snowfall,despite the fact that it hadn’t snowed there inNovember for twenty years. But we’d somehow lefttwo contingency interior days so we were able to getinside, which helped us again.

I shot on 500ASA Fuji film because I like that look,so that’s what I did just about throughout the wholefilm, day and night, interiors and exteriors, we did itall 500ASA. They had very short days, exactly theweather and daylight hours you’d get in Londonreally, so you’ve got to get out and shoot.

VA: I understand that you had a visitfrom Haskell Wexler ASC while youwere filming.

BA: I’ve known Haskell since he worked with us onBread and Roses, in LA. He’s an activist and haddirected and shot Medium Cool at the 1968anti-Vietnam War protests in Chicago; a film Stuartand I both love and which had been in part theinspiration for Battle in Seattle. Haskell shot actualriot footage in Chicago and put his actors into thatlive situation. There’s a famous scene in it where hegets so close to the rioting and so involved that youhear someone shout “Hey Haskell look out, it’s real,”and he gets tear-gassed. He’s in his eighties now andis still very active; he makes documentary films.

Haskell was so proud of us using 16mm cameras.He came up for a day to shoot with us and we alsoput him in the film. We said “Handhold this one,”which he was reluctant to do initially because it wasa complex situation, but these cameras are so light,and with a great look-through, he took to it reallywell. And he gave us a full day’s work, right to thefinal shot with Woody Harrelson, a friend of his. Itwas a great day and the camera crew wanted to buyhim dinner, so I picked him up at the hotel and tookhim across town. He told us wonderful anecdotes aswe ate, but just as he began talking about ourprevious experience together on Bread and RosesI had to go and take a phone call. The crew told methe next day that he said how inspired he had beenby my readiness to take on the director’s ideaswithout a fight, as then it becomes the multiplicationof two ideas, rather than a struggle. It was inspiringto work with Haskell and lovely to hear from such anexperienced eighty-year-old that he’d learnedsomething from me. But of course he’s young enoughto know that you never stop learning. �

Mark Hope-Jones

� ON THE SET of Battle in Seattle, DoP Haskell Wexler ASC& DoP Barry Ackroyd BSC (left to right)

“BY USING LONG LENSESAND SHOOTING IT THERIGHT WAY WE GAVETHE IMPRESSION THEREWERE TEN TIMES ASMANY PEOPLE THERE.”

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A NEUTRAL CORNERShort film showcases DIEarly in 2006 the Digital Intermediate team at London post-production house Soho Imagesapproached ARRI Media London about working together on a test designed to showcase the DIworkflow. Laurent Treherne, Technical Director at Soho Images, was keen to acquire a widerange of images on 35mm film and determine how successfully a DI could carry all the varieddetail on the negative through to release print. The sequence of images would have toincorporate daylight, artificial lighting at night, interiors and exteriors, moving shots and arange of colour, saturation and contrast. It was decided that a short narrative film would bestcombine these parameters in a form that would answer the technical questions as well asfunction as a demo for potential clients.

Emily Greenwood, Digital Online Film Editor at Soho Images,had already directed two successful short films and volunteeredto write and direct another short that would encompass all ofthe necessary elements. She decided that Dungeness in Kentwould provide an ideal location base as the wide expanses ofshingle beach allowed opportunities to shoot big skies andvast low contrast landscapes. “We went on a recce, took anextensive number of photos, then I drew up a storyboard. Thescript took shape from that.”

The final draft of A Neutral Corner was sent to DoP MikeSouthon BSC, along with details of the technical goals of thefilm. He had experience with DI already, but liked the storyand was interested in collaborating closely with a facility hehad not worked with before. ARRI Lighting Rental, and ARRIMedia supplied kit for the shoot, which was another draw forSouthon as he was able to use the ARRICAM Studio and ZeissMaster Prime lenses, neither of which he had shot with before.Kodak supplied the stock.

25

Filming took place over four grey daysin the month of February and theweather in Dungeness was a problemfrom the outset. “It was a completenightmare,” says Southon. “The rainwas horizontal.” Vehicles got stuck inthe wet shingle, there were soaringwinds and the cast and crew struggledto stay warm. “Conditions like thatimpinge on everybody on the unit andI know what it’s like to have to directactors in a howling gale, freezing todeath, so I think Emily didextraordinarily well.”

Greenwood had managed to castJody Latham, of Channel 4’s Shamelessfame, as well as Valerie Leon, a veteranof Bond, Carry On and Hammer horrorfilms. The director was keen to takeadvantage of her first full-timeprofessional cast by concentrating moreon performance than technicalconsiderations. “They had very differentstyles of acting,” she recalls. “Jody washappy to improvise in characterwhereas Valerie worked better withmore specific physical direction.”Southon is full of praise for herbalancing of directorial duties: “She wasdoing what a good director should do;looking after the actors but also keepingon top of what was happening visually.”

Despite the difficult conditions, filmingwas completed and the negativedeveloped at Soho Images, where itwas also scanned on an ARRISCANafter the offline edit was assembled inAvid at The Club in Covent Garden.Grading took place in a Soho Imagestheatre, utilising a 2K Barco DP100

projector. The 2K log data wascontrolled by the Da Vinci 2K gradingtool from the iQ. With the film-originatedimages in the digital domain, a greatmany options were open for rectifyingproblems that had arisen as a result ofthe near impossible shooting conditions.The Da Vinci and iQ permitted subtlechanges of contrast and detail toselective parts of the image while noisereducers removed excessive grain fromflat skies in shots that might otherwisehave been unusable.

VFX shots could also be incorporatedin-house and with ease; unwantedelements such as moving vehicles weretaken out of certain images and ateapot from one shot replicated inanother for the sake of continuity. Mostchallenging of all was Greenwood’sidea of showing a steam train thatappears in the film pull up outside asmall church that in actuality liesnowhere near the tracks: “We shot onepass of the train coming into the stationat night, with darkness behind it, andthen shot another pass of the church onits own during the day as a backgroundplate; we graded that down so it lookedlike night. It was complicated becausewithout the use of a huge green screenbehind the train, I couldn’t just pull achroma key, I had to hand track andpaint the key frame by frame.”

The final graded edit was shot back outto 35mm film on an ARRILASER and acombined print created in the lab, all atSoho Images. At no stage in the processwas there any degradation of detail,dynamic range, contrast or saturation.

The test in fact proved that DI providestools for the grading and repair ofimages, as well as the seamlessintegration of VFX, that far surpass thoseof the conventional lab workflow.“Traditionally the only control you haveover the look of the picture is to adjustthe red, green and blue levels and thedensity,” comments Greenwood. “In DIyour possibilities are practically endless.I guess you could compare it to havingsomething like the equivalent ofPhotoshop for moving images.”

A Neutral Corner has appeared at filmfestivals worldwide since its completion.The premiere was in Sao Paulo, fromwhere it travelled to Leeds, the SeagateFoyle Festival in Londonderry, SantaBarbara and Aubagne in France. It iscurrently at the Newport Beach andAtlanta film festivals, and also receiveda ‘Highly Commended’ citation from theTCM Classic Shorts competition.Greenwood, who is now developing afeature with her production companyMagic Eye Productions, asserts that thetest confirmed a general belief at SohoImages in the importance of shooting thecleanest possible negative when makinga film bound for DI. “The bottom line isyou can’t get detail if it doesn’t exist onthe neg, so perhaps the best thing tobear in mind when shooting for DI is tolight it for as much detail on thenegative as possible, rather than tryingto create too much of a specific ‘look’in camera.” �

Mark Hope-Jones

� DoP MIKE SOUTHON BSC

�WRITER & DIRECTOR Emily Greenwood on the set of A Neutral Corner (far right)

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The Yodelling

This is what happened…

Shortly before Christmas 2006, a40-second spot hit the internet playingon video platforms such as MyVideo andClipfish. In the spot a security monitorcaptures some rather odd animalbehavior. At a McDrive high up in thesnow-covered Alps a woodchuck tinkerswith the drive-thru intercom, clears itsthroat and begins to yodel and dancea schuhplattler. However, this unusualbehaviour is abruptly cut short by a redVW van, which hits the nimble littlewoodchuck, carrying him off on itsbumper right out of the picture. Only acrude Bavarian curse, “Sacklzement,”from off-screen and the fading in of

‘www.huettengaudi.de’ gives theconcerned viewer the comfortingreassurance that nothing too terrible hashappened to the furry creature.

No need to call animal welfare, asdespite the deceivingly perfect look ofthe woodchuck it was created digitally.The photo realistic alpine road victimwas rendered by the 3D andFlame/Inferno artists at ARRI.

The pranksters behind this witty spot areMcDonald’s ad agency Heye & Partner,who used the internet spot to promote ayodel competition held in early 2007.“Up until now the internet has not beenintegrated into the ‘media mix’ of aMcDonald’s campaign until much later,

when the content for television, radioand traditional print media has beendetermined,” says Andreas Forberger,Creative Director of Heye & Partner, ashe explains the strategic approach of the‘Hüttengaudi’ campaign. “This timearound however, we went about itdifferently.” The impetus for the ideacame from McDonald’s internet agencyTribal DDB, who realized that onlinevideo clips that appeal to the specifiedtarget audience spread like a virusamong peer groups. It is more than likelythat these ‘viral spots’ will soon becomean integral part of the planning stage ofmarketing campaign strategies for mostlarge companies.

McDonald’s went native with its winter campaign ‘Hüttengaudi’ for the ‘Big Rösti’, their burgercombination with cheese, a potato rosti and bacon. The campaign features the snow-coveredAlps and a yodelling woodchuck dancing the schuhplattler, a traditional Bavarian folk dance.Under the creative tutelage of advertising agency Heye & Partner, production company HagerMoss Commercial, in close collaboration with the 3D artists and post production specialists atARRI Film & TV Commercial, not only created a classic TV ad but also a stand-alone viral spotfor the internet. The goal was clear, extend the reach even deeper into the target group ofmostly young burger gourmets, as well as ‘virally’ spread McDonald’s cheerful brand messagevia the World Wide Web.

ARRI brings furry fun to McDonald’s ‘Hüttengaudi’ campaign

27

VISIONARRI

Woodchuck

The task for the production company,Hager Moss Commercial, and the 3Dand post production team at ARRI was tosimultaneously produce a viral and30-second TV spot. Both spots had to beinterlocked, referring to one another.Finally, a 5-second ‘tandem spot’ had tobe generated, prominently featuring thewoodchuck and thereby connecting thetwo media levels, as well as creating aboilerplate for the final phase of thecampaign. “To come across creativeindividuals, who under immense timepressure can think a concept throughwith us and develop it further isinvaluable,” says Andreas Forberger,recalling an intense phase in thedevelopment process at the end ofOctober 2006, “especially if all thespecialists and artists are united underone roof, as is the case at ARRI - whereyou can get everything from one source.”

Jens Junker of Hager Moss Commercial,Director of both spots, appreciated theability to utilize this potential in difficultcircumstances. Generally a fan oflocation shoots, he had to move from themountains into the studio due to less thanperfect weather conditions in the earlywinter of 2006. “What looks like ‘realshots’ in the spot - taken in the sunny

Alps - are in reality a complex mix ofmaterials. The stylistic elements werefinalised and blended into a perfectwhole on the Flame/Inferno duringpost production.”

The TV spot shows the red VW vanapproach the McDrive from a distance,focusing on the time prior to the accidentinvolving the woodchuck which isfeatured in the viral spot. “Mostinteresting is that the entire set up, thanksto the less than ideal weather conditions,is based on one photo. We used this asa digital matte painting, into which weinserted the 35mm shots of the movingvan taken in the studio with an ARRIFLEX435,” explains Art Director andFlame/Inferno Artist Rico Reitz, who wasresponsible for on set, as well as postproduction supervision. “Working thisway makes it possible to digitally builda stylised landscape, include effectssuch as wind, snow or dust and,through optimally grading the image,create the impression of aphotorealistic environment.”

The end result convinced even JensJunkers: “We gave everything ahyper-realistic feel, which in retrospect Ilike very much. It was essential thoughthat we had a team that was reliableand would ensure that all the individualelements came together in the end.”

The TV spot takes its humour from theheavy-accented Bavarian voice takingorder requests through the intercom atthe McDrive and the quick-wittedresponse of the two passengers in thevan, yodelling back the order in thesame dialect. In the viral spot, everythingcentres on the woodchuck’s behaviour atthe intercom. “I found it important,”points out Jens Junkers, “that thewoodchuck looked absolutely ‘real’ atthe beginning of the spot and would notbe perceived as a comic book figure.”

“It is only when he clears his throat andbegins to yodel, and even goes on todance a schuhplattler, that the illusiondissipates,” recalls Andreas Forberger ashe enthusiastically reminisces: “I find thetransition in the viral sensational,because the viewer truly believes theyare watching a real animal potteringaround the McDrive.” �

THE YODELLING WOODCHUCK

28

The basis for this optical illusion wasprofessional 3D modelling in Maya,combined with the creation of texturesand a colour scale for the structure of thefur in Photoshop. After importing thesetextures into Maya, up to six millionindividual hairs of the woodchuck’s furwere generated for animation and testedfor rendering. Creative Producer PhilDecker is familiar with the problems thathad to be solved all too well: “Hair isstill in the top league in 3D animation.The greatest skill lies in creating thetextures in such a way that the audiencestill perceives them as realistic. Theanimal has to look a little raggedy; thefur has to be sticky in places. If it isabsolutely flawless and the animal lookslike a blow-dried Lassie, then it doesn’tlook real.”

A general rule for visual effects andcompositing is that one can achievedecent results in a relatively shortamount of time, but that it takes twicethat time to make the end product lookperfect. Phil Decker put it this way: “Ifyou schedule four weeks for 90% of thework, then you need to schedule anotherfour weeks for the last 10% of the job.Only then will it come out perfect.”

The finishing of the various layers(fur, eyes, teeth, lips) was accomplishedduring compositing on theFlame/Inferno. “On their own theindividual 3D elements never truly look‘finished.’ Only the appropriatecompositing gives the image the desiredlook,” points out Rico Reitz: “Whichsometimes involves making things looka little ‘less perfect’ to achieve thedesired photorealism.”

The initial response to McDonald’swinter promotion was positive. And now,even though the final analysis has notbeen completed, the campaign isalready considered to be one of themost effective.

This was partially due to the highquality viral spot. “You don’t expect aninternet spot to look perfect on the largescreen but this one does,” saysJens Junker and continues: “Even if youreduce or alter the image or put amonitor flicker over it, you can stillsee the quality of the originalfilm underneath.”

It remains to be pointed out that this typeof production requires sophisticated onset and post production supervision fromone single source. Philipp Bartel, Headof Post Production at ARRI Film & TVCommercial, explains: “It shortens thetime spent in post production, eases theburden on the director in situationswhere input is needed and leads to themost optimal results for our customers.” �

To view the commercial go towww.arricommercial.de

Ingo Klingspon

AgencyHeye & Partner GmbHWerbeagentur GWACD Andreas Forberger

Production CompanyHager Moss Commercial

DirectorJens Junker

ProducerJürgen Kraus

Head of Post ProductionPhilipp Bartel

Creative Producer /3D CoordinatorPhil Decker

Art Direction & Flame ArtistRico Reitz

Flame & Inferno ArtistsKlaus Wuchta

3D ArtistsAdam DukesNando StilleChristian BumbaConstantin Hubmann

VISIONARRI

29

JPEG2000 on its wayto Digital CinemasThe JPEG2000 format is currently arriving in digital cinemas,superseding the MPEG2 compression format previously usedto create Digital Cinema Packages (DCPs). The MPEGInteroperability Group had developed MPEG2 as anintermediate format for digital theatres. It will continue toco-exist with JPEG2000 for the time being because of pre-showssuch as trailers and advertisements. Several hybrid players arealready available and others have been announced. In the longrun, the requirements of distributors will lead to the expulsionof MPEG2 from theatres, with JPEG2000 taking its place. �

30

A major difference between the two systems isJPEG2000’s intra-frame coding, compared to theintra and inter-frame coding in MPEG2. Intra-framemeans that each frame is coded individually, whileinter-frame means compressing several interrelatedframes. In addition, MPEG2 uses discrete cosinetransformation (DCT) while JPEG2000 uses thediscrete wavelet transformation (DWT). The maximumdata rate of JPEG2000 has been increased by afactor of approximately three compared to MPEG2.And, JPEG2000 uses the device-independent X’Y’Z’colour space.

Currently, ARRI Film & TV uses both systems.For high-quality productions like trailers and featurefilms it is recommended that a DCP is produced inJPEG2000. For cinema commercials where sourcematerial is already limited MPEG2 also leads to anadequate result.

One of the main advantages of the JPEG2000algorithm is the ability to extract various resolutionlevels out of one single file. This makes it possible toextract a 2k resolution layer out of a 4k DCP. 4k filmscan therefore be screened on 2k, as well as on 4k,projection systems. Currently, 4k projection systemsare a rarity in cinemas, making 4k DCPs anexception. Looking at the compression, the datareduction in 4k is 41/1 while in 2k it is only 10/1.Consequently larger loss appears throughcompression despite qualitatively higher 4k material.

MPEG2 JPEG2000

Resolution 1920x1080 4069x2160 or 2048x1080

Colour Depth 8 bit 12 bit

Data Rate 80 Mbit/s 250 Mbit/s

Compression DCT DWT

Data Reduction 30/1 per 16 bit Tiff 41/1 or 10/1 per 16 bit Tiff

Colour Space RGB X’Y’Z’

Coding Inter-/intra-frame Intra-frame

The quality of JPEG2000 is an improvement. The most significant differences compared to MPEG2 are listed above.

Comparison of technical specifications, MPEG2 and JPEG2000

JPEG2000

31

VISIONARRI

For the creation of a DCP, the know-how of variousARRI departments can be utilized. This includes, forexample, access to costly 3D Look Up Tables (LUTs)to transform logarithmic DPX files into linear 16 bitTiff files in the X’Y’Z’ colour space, as well as theobjective and subjective evaluation of the appliedJPEG2000 algorithm. Colour reproduction, contrast,focus and detail accuracy are the main concern.The software solutions currently available permit thecreation of flexible workflows and the optimization ofalgorithms. Furthermore, it is possible to add subtitles.This is another of the main advantages of digitalcinema, as subtitles don’t have to be rendered ontothe material but can be sent to the projector in aseparate XML file. The projection system then usesinternal keying to insert the subtitles in the desired

position in the film. For the Berlin Alexanderplatz:Remastered screening at the 2007 BerlinaleInternational Film Festival, ARRI completed a DCPincluding subtitles for the first time. ARRI, therefore,is on it’s way to becoming one of the leaders in therealm of digital cinema.

OutlookCurrently, developments are underway to produce adigital cinema master in a 3D format. This wouldcomplete the attempt to be able to offer all formats.Customers venturing into digital cinema can rely onARRI Film & TV to work on their projects in thehighest qualitative level. �

Constantin Seiler / Johann Hohenwarter / Matthias Ritschl

In comparison, the compression loss of 2k images is minimal, which becomes apparent in illustration 2.In both illustration 2 and 3, the chrominance has been increased 15 times to depict the loss.

Illustration 1: reference image

Illustration 2: 2k image

Illustration 3: 4k image

32

Ancient Egypt Goes Digitalwith the ARRIFLEX D-20It’s common knowledge amongst film and television crews that nothing challenges the reliabilityand performance of electrical and electronic equipment more than extreme temperatures ordesert sunlight and sand storms. Prisoners of the Sun, a Miromar entertainment production shotin Morrocco’s Ouarzazate, was no exception.

Based on the same genre as Raiders of the Lost Ark andThe Mummy, the story follows a multi-national expeditionwhich discovers a lost city beneath the pyramids. Racingagainst time they must stop the re-awakening gods frominitiating the count down to the end of the world. Part of thefilm takes place in a pyramid therefore the ARRIFLEX D-20 hadto prove itself not only in the dark and dingy labyrinths lit only

by torches but also in the bright desert sunlight. The digital film-style camera mastered the demanding situations wonderfully.

The adventure film was directed by Roger Christian (BlackAngel, The Dollar Bottom, The Sender). The images forPrisoners of the Sun were photographed by DoP Ed Wild(Phobias, Severance) and camera equipment was supplied byARRI Rental Munich.

VA: Why did you decide toshoot Prisoners of the Sun on anHD camera?

EW: Producers like HD for severalreasons, mainly because it saves moneyon film stock which is an importantconsideration as we were shooting withtwo cameras most of the time. Also youdon’t have to transport film rolls backand forth which, when working inMorocco, is a help logistically. But it’salso great for the director and the editorbecause there is no lag getting rushes tothe edit, meaning the editor can providerough cuts very quickly, helping thedirector see how scenes are cuttingand allowing sets to be wrappedmore quickly.

VA: Why did you choose theARRIFLEX D-20?

EW: Before, I would have generallypreferred film, because it tends to besofter on skin and because of itsgentleness in the highlights. TheARRIFLEX D-20 seems to mimic thesefeatures far better than previous HDtechnology. Plus, because it’s a full-sizechip and a PL mount, there is a fullchoice of all the film lenses. The cameraitself functions as a film camera, with alovely bright optical viewfinder, ideal forthe low light, dark exposure conditionsof some of our scenes. Also, going theRGB route in colour grading has helpedthe richness of the image over othertraditional YUV formats. All this helpedto obtain a much more satisfying image.

VA: Were any modificationsnecessary?

EW: No, we took the camera as it was,out of the box. But my B-camera FocusPuller, Mark Nutkins, who has a lot ofexperience with the D-20, made thewhole camera crew’s transition tothe D-20’s slightly different workflowvery smooth.

VA: What problems didyou encounter?

EW: We filmed in the desert of Morocco,where you deal with extremely highcontrast ratios. Some HD cameras tendto face problems with overexposedcolours – but not the ARRIFLEX D-20.Sand is another factor. It can do nastythings to a roll of film. The D-20 surviveda few heavy sandstorms and carried onshooting, although using the AngenieuxOptimo series limits the exposure to theelements of the chip, which can get dustparticles on it that photograph (its onlyreal Achilles heel).

VA: Any other challenges you hadto face?

EW: Yes, “unmotivated light.” There are alot of scenes where people are runningthrough dark corridors with torches intheir hands. We had some very big sets,so we wanted to see them, as they wereintegral to the story.

VA: How do you like the filmPrisoners of the Sun?

EW: It is a big fun ride, people will enjoyit. The ARRIFLEX D-20 helped give it its“big feel” – combined with the vision ofour Director Roger Christian and thehard work of a multi-national crew.

VA: What are your next projects?

EW: Next is a commercial, followed by anew film, an urban drama. �

Clemens Danzer / Andrea Rosenwirth33

VISIONARRI

� THE FUNERAL CEREMONY of Princess Amanphur

� ON LOCATION DoP Ed Wild on camera, to the left of him is Director Roger Christian

� SARAH MASTERTON (Carmen Chaplin) and Doug Adler (David Charvet)�

34

Twentieth century Saint Petersburg, Russia. The year is 1999 in a smallapartment on Chkalovskaya Street. This is not, as you would think, thebeginning of a film sequence but instead how ACT, ARRI Rental’s Russian Rentalpartner, began. Initially, in the beginning their inventory consisted oftwo cameras – a secondhand AATON and an old ARRI SR2 modified into theS16 format, some lighting equipment with a number of small tripods and ahand-made trolley with a dozen crooked rails. Among the 35mm camerasthere was only the ARRI IIC with its Soviet optics. “It was with this kit that Ishot one of my best films, Pro Urodov i Lyudey (About Freaks and People)”,says Sergei Astakhov, founder of ACT.

It was during this early stage that the ideology ofACT was born. Eight years have passed and muchhas changed. The company has become one of thelargest rental companies in Russia with a team of

30 employees and an inventory of approximately45 cameras including the ARRICAM Lite, ARRIFLEX535, 435, 35 and the 16SR 3 and a vast array ofstate-of-the-art lighting and grip equipment.A

CTARRI Rental Partner in Russia

�AN ACT ENGINEER demonstratesLDS lenses to some students

ACT became an ARRI Rental Partner in 2004,aspiring to provide the Russian film industry withexcellent customer service, directing particularattention to the individual needs of each production.With this in mind, Sergei Astakhov and his teamoffer a broad range of services. Besides cameras,lenses, lighting equipment, accessories, dollies andcranes they endeavour to provide equipmentspecially developed for unique technical demandsand situations. Although not always profitable it iscarried out in the hope that they will return to ACTin the future; and the team is usually successful inachieving this goal. For the past three years theyhave been working with large productioncompanies such as Nikita Mikhalkov’s TRITE,Sergey Seliyanov’s STV, Sergey Melkumov’sNonStopProduction, Mikhail Dunaev’s ThemaProduction and Jimmy de Brabant.

Foreign filmmakers are also pleased with theirservices. Together with ARRI Rental Germany, ACTprovided the equipment for the shooting of Khadk(produced by Ma.Ja.De Fiction) in Mongolia, wherethe muddy filming conditions were extreme withstrong winds and temperatures reaching 50°Cbelow zero.

One of the company’s priorities is to support youngtalented cinematographers. For three years now,ACT has been actively working with the students ofthe Institute of Cinematography in Saint Petersburgand the VGIK (All-Russian State Cinematography

Institute) creating small kits of inexpensive shootingand lighting equipment charging only a small feefor the rental. They have designed a programmebased on the company’s ideals. It consists ofpractical assignments in which students gainvaluable knowledge about modern equipment. It isACT’s hope that this will help to revitalize the life ofcinematography in Russia.

There is a lot of challenging yet interesting work forthe ACT team. The $26m production ObitaemyOstrov (Inhabited Island) has already begunshooting. DoP Maksim Osadchiy and DirectorFyodor Bondarchuk have been more than satisfiedwith ACT’s services. Fyodor Bondarchuk is alsoDirector of 9 rota (9th Legion) which was filmedwith ACT’s and ARRI Rental’s equipment and set adomestic box office record in Russia, in 2005,generating $7.7m in five days. The shooting ofNikita Mikhalkov’s Utomlyonnye Solntsem-2 (Burntby the Sun-2) is about to start. Currently, a technicalbasis for using cable-ways, resembling the CableCamand other similar devices, is being created.

Sergei Astakhov and his team are confident that thefuture of the film and television industry in Russialooks good and taking into account the character ofthe Russian people, will also be a significant part oftheir social life. �

35

VISIONARRI

�SERGEI ASTAKHOV and ACT Mechanic Vecheslav Krilovworking on a stabilizing system

�ACT’S FACILITIES in St. Petersburg

36

Mobile phone giant Orange has created a new series of commercials. The‘Life, as you like it’ campaign has been put together to illustrate howOrange services help people live the life they want, on their terms, as theylike it. The series portrays various products offered by Orange, includingPay Monthly, Pay As You Go and new music service ‘gigsandtours fromOrange’, which allows customers to reserve concert tickets up to 48 hoursin advance of general sale.

Each advert is based around a song that celebrates a benefit of an Orange product.As each is sung, props that link to the lyrics appear in shot around the central character,building up a theatrical scene as a tribute to ‘Life, as you like it’.

Created by advertising agency Fallon and produced by Rattling Stick and Farm FilmProductions, the ads were filmed at various locations in and around Cape Town over atwo week period.

Footage was captured by Director of Photography Jess Hall using three ARRIFLEX 435s,Cooke S4 lenses and Angenieux Optimo zooms. Camera and lighting equipment wassupplied by Media Film Service, an ARRI Rental Partner with facilities in Cape Town,Johannesburg and Durban.

The adverts feature a vast array of large theatrical style props, all of which had to bemoved or dropped into shot at exactly the right time during filming. This required a hugeamount of careful preparation, and a lot of scaffolding. Kate Murray, Producer for FarmFilm Productions, says: “This campaign has been enormous on many levels. It wasdesigned by three different art directors from the UK, with one local art directorco-ordinating the entire project. A third of the budget went on the art department alone.”

Throughout filming Media Film Service was on hand to respond to the demands of thislarge and varied shoot. “On the first day we requested a larger SoftSun,” reflects Murray,“which called for additional cabling, distribution and a more powerful generator. All wassupplied without delay to the shoot, thanks to a well co-ordinated Media support team.”

Orange has invested £13m in the ‘Life, as you like it’ campaign, which includes television,press, outdoor, online, and in-store activity. �

Orange ShootsNew Ad Campaign in South Africa

37

VISIONARRI

Through what seems like an endless frozen landscape, glides ahead-turning female figure skater surrounded by floatingstrawberries and mint leaves. The ad was generated by the creativeteam at ARRI Commercial, who spent two weeks animating andcompositing to create a stunningly smooth flowing spot tocommunicate the taste sensation of Kent candy brand ‘Olips’.

A team of ARRI 3D and compositing artists set out to create a beautiful frozenlandscape and breathe life into the strawberries and mint leaves, making them swirlseamlessly through the arctic scenery. It all ends with a packshot of the Kent candy.

The creative concept for the spot came from Director Erol Özlevi himself. He wassupported during filming on location in Turkey and throughout post production inMunich by ARRI’s Rico Reitz (Art Director & VFX Supervisor). It was essential thatRico Reitz was on set to supervise the visual effects in order to ensure everything wasin place for the tasks that had to be accomplished in post production. Throughout theshoot, production company Filmclub turned to ARRI for their expertise on all technicalaspects. The spot was shot by an internationally recognized team on an ARRIFLEX435 using ARRI HMI lights.

The venue for the shoot was an ice skating rink, where the figure skater was putthrough her paces. To transmit the camera movements a great number of trackingpoints were placed on a whitescreen that was set up in the background. The entirewhitescreen was then replaced by an arctic landscape, created for the spot by theteam at ARRI. The icy scenery was assembled during compositing using a mix ofmaterials such as frame sequences and high-resolution stills, as well as footage fromARRI’s Commercial Library.

To create the swirling 3D strawberries and mint leaves the artists worked with XSI.The finish was completed on the Flame.

What makes commercials so great is that nothing is what it seems!

To view the commercial go to www.arricommercial.de

Credits

Production Company: Filmclub Istanbul

Executive Producer: Hakan Aytac

Director: Erol Özlevi

Agency: Guzel Sanatlar Saatchi & Saatchi

Head of Commercial: Philipp Bartel

Art Director: Rico Reitz

Creative Producer 3D: Phil Decker

Flame & Inferno Artists: Rico Reitz, Mikel Tischner, Klaus Wuchta,Chris Weingart

3D-Artists: Christian Deister, Gregoire Barfety, Marius Herzog

Philipp Bartel

KentCandyArt on Ice!

38

SILENT WITNENEW LOOKWITH

“At the end of the previous series, whichwas shot on film, a new producer camein and said to me: ‘How can we make itlook different or better?’,” says KevinRowley, DoP on all ten episodes of thisseries and on several previous seasons.

He knew relatively little about HD, so setabout testing the alternatives. “I didn’tlike any of the cameras I tested, becausethey always had a video look. ThenARRI Media suggested the D-20. As soonas I looked through it and had seen theshowreel I knew this was an HD cameramade for a film man,” says Rowley.

“I was surprised at how easily I took toit. I was amazed at the results.”

The new Producer, George Ormond,had never worked on film, having mainlydone episodic drama such as Eastendersand Holby City for the BBC, but wasanxious to protect or improve the look ofthe show. “Kevin had made it look veryclassy,” he says.

They tested the Viper, the Sony HDW-750P and the D-20, and Ormond feelsthat the D-20 “gave it a really filmiclook.” He also liked the fact that thereweren’t “hundreds of internal menus tofiddle about with,” and that it took35mm lenses.

“We thought it would give the show avery distinctive look – glossy, classyand expensive looking, with movieambitions,” he adds. “It really was thedepth of field that made the differencefor us.”

“I’m not saying that the Viper is a badcamera, but it has smaller chips[resulting in a deeper depth of field] anda more video look,” explains Rowley.

“A lot of HD cameras have back focusissues,” adds Ormond, which doesn’tapply to the D-20.

“You have to choose the right tools forthe job,” he says. “You choose thecamera for the needs of the show.” It alsohelped greatly that Rowley and his filmcrew immediately felt at home with it.

However, the Corporation wasn’t initiallykeen on using it for cost reasons, “butwe made such a case for it. I wasadamant that this was the only way to

go, HD-wise, and we eventuallypersuaded the BBC that it was the rightway to go,” explains Rowley.

“We struggled at the start, with cablingand rain, and it was heavy. Theoperator had to get to grips with it on hisshoulder.” However, it was worth it.“We got spectacular results,” he says andwhile it was hard work, “I’m convincednow we made the right decision to goHD. I’ve had to give up any notion thatmy future would only be film,” he says.

“Once you understand the basicprinciples of photography and canexpose different film stocks, you can usethis camera. It is definitely a serious bitof kit.”

The BBC’s crime series, Silent Witness, is the Corporation’s highest rating drama, so the highestpossible production values were demanded of it when it switched from Super 16 film to digitalfor its upcoming 11th season.

“IT IS A TOOL THAT BRINGSTHE BEST OUT OF YOU.”

� TRACK STARS: “feature film-style results in a quarter of the time”

39

VISIONARRISS GETSTH D-20

Monitor WizardThey would have avoided the cable issue if they had chosen aSony camcorder, which records to an on-board tape, but theD-20 also offers cable-free recording with its FlashMags.

“We have used the FlashMags, but not as much as we thoughtwe would,” says Rowley. “We cabled the camera to the mainmonitor as much as possible.”

Having a proper HD monitor on site meant Rowley could “seeclearly under that black hood.” On location, he had a 14-inchSony HD CRT monitor nearby, which he used for criticalviewing and to set up the camera. Even indoors, the monitorwas framed by a large sunshield and a black blanket. Indeed,he calculates that he spent about two hours a day under thehood, amounting to ten full days over the seven-month shoot.

“What I’m seeing on that screen is so representative of thefinal result that even when I go to grading there is not much todo,” he explains.

“You do have to light it very carefully. You have to light thisstuff properly. It will not accept inferior exposure. I’ve foundmyself having to adjust my lighting, because there is no ‘I’llfix it in post’,” he says. “If you get the blacks wrong or thehighlights wrong, you can’t rescue it. You can’t take chanceswith it. Remember to look in the shadows, but beware ofthe highlights.”

However, this rigour is probably a good thing. “It is a tool thatbrings the best out of you,” says Rowley.

Controlled ExposureCompared to the film he had been used to shooting with, theD-20 has a slow ASA rating. “With modern film stocks, peoplecan be pretty inaccurate with exposure readings and get awaywith it, but I hate under- or over-exposure where it’s notnecessary, so I’m happy to work like this.”

He rated the D-20 at the equivalent of about 250 ASA, ratherthan the 320 ASA stated.

“It’s been quite rewarding. I can see the polished result rightthere in front of me without waiting for the rushes later.”

As an experienced DoP, when he was working with filmRowley could tell what the end result would look like just bylooking through the camera. He thought that as the front partof the D-20 was essentially an ARRI 435, that looking throughthe viewfinder would be the same as viewing the monitor, butit wasn’t. This meant that he had to keep going from one to theother to check how they looked – at least initially. By the endof the shoot he didn’t need to look through the camera, as hecould light for the D-20 intuitively by then. “I’ve learned how tolight HD from this experience.” �

“WE THOUGHT IT WOULD GIVE THE SHOW A VERYDISTINCTIVE LOOK – GLOSSY, CLASSY ANDEXPENSIVE LOOKING, WITH MOVIE AMBITIONS.”

�OPERATOR RODRIGO GUTIERREZ

SILENT WITNESS

40

Instead, focus has been the big issue.“It’s extremely difficult for the focuspuller. Focus is for a gifted focus puller,because of both the D-20 [and itsshallow depth of field] and the way weare shooting,” he says.

Explosive BeginningsThe first two-part storyline began with abang, making the introduction to digitalmore than usually fraught.

“Our introduction to HD was an airshow, with 30,000 people, the French[equivalent of the] Red Arrows [airdisplay team] and three cameras,”explains Rowley, who had to walkaround after the Steadicam operatorwith a black hood on his head,viewing through the Astro seven-inchHD LCD monitor.

“Now, I’d be a bit more relaxed afterseven months, but that was a reallyscary air show for me. I knew I couldn’tcome back and do it again.”

On that episode, they also used filmfor high-speed shots and a high-speedHi-Motion HD system from ARRI Media.

“For people who are running through aburning building, you have to shoot it atbetween 60 and 75 frames per second,”explains Maurice Phillips, Director of thefirst and fifth two-part stories. He is avery experienced film director who hasworked extensively on TV drama and onmovies, but for whom this was also afirst HD experience.

However, not everything has goneperfectly. “There are moments when [thesystem] just crashes. The housing for theSony recorder occasionally overheats,”says Rowley. Although, “over sevenmonths of filming, there wasn’t one hairin the gate!” adds Phillips.

“I can’t think of any shots that we’vewanted to get that we haven’t got,” saysOrmond. “We’ve had a 100% hit rate,”agrees Rowley.

Having shot so many episodes in a shortperiod, he believes that the D-20 means“We can get feature film-style results in aquarter of the time” that it wouldnormally take. Sentiment shared byeveryone who attended the specialscreening of the first block Apocalypseat the Odeon Leicester Square (first twoepisodes cut together into a single twohour feature). Though produced for TV orrather HDTV screens, the new SilentWitness material held well on the largeOdeon premier-cinema screen. “If youwant to mimic the ‘big picture’ you canuse the D-20, and that was veryapparent at the screening at the Odeon,”says Rowley.

41

VISIONARRI

Each two-hour story was shot in just fiveweeks, so they have shot the equivalentof six feature films in seven months,“with that kind of quality,” he adds.Indeed, Silent Witness is the biggest TVproduction yet made with the D-20. Inthe US, The Company, a 6 x 1-hourmini-series for TNT, has also been shotwith the D-20 and in Germany AfrikaMon Amour, a 3 x 90 minute serial.

“People have said that it has a sort ofAmerican look [similar to something likeCSI ]. CSI is shot on 35mm and looksexpensive, and it’s got that sort of look,”says Ormond, “but CSI has about twicethe budget.”

Making the GradeSilent Witness is edited on Avid at itsmain studio in Acton, West London(where it has permanent sets), andgrading is done at Soho posthouse Molinare.

There is little difference between post onfilm or HD, except for the grading.“When you’re working in film, youtelecine direct from the negative, whichis very much more work intensive,”explains Phillips. “With the D-20, a lotless grading is involved, becausewhatever you get on set is very muchwhat you get in post.”

They used an HDCAM SR deck to feedthe Avid directly, at the same timeviewing the dailies on an HD monitor.

Molinare did the HD grade (using aFilmLight Baselight HD), sound mix andthe final conform (using an Avid HDDS Nitris).

“I just like the way the D-20 looks,” saysRowley. “Why should I use an ENGcamera? It looks sharp and unnatural.The D-20 has the total characteristics ofa 35mm camera.”

He advises other DoPs: “Let’s not beafraid of the future. I was, a lot; but I’vediscovered a new way forward and I’mhappy with it.” �

David Fox

� THE D-20: “An HD camera madefor a film man”

“WITH THE D-20, A LOT LESS GRADING ISINVOLVED, BECAUSE WHATEVER YOU GET ONSET IS VERY MUCH WHAT YOU GET IN POST.”

�SILENT WITNESSES: DoP Kevin Rowley,Producer George Ormond and Director Maurice Phillips(left to right)

�“A GIFTED FOCUS PULLER” is a necessity says Rowley

“LET’S NOT BE AFRAID OF THEFUTURE. I WAS, A LOT; BUT I’VEDISCOVERED A NEW WAYFORWARD AND I’M HAPPYWITH IT.”

VISIONARRI

43

Sergio Leone was in many ways a child of the cinema. His mother had been anactress in silent films and his father was the cinema pioneer Vincenzo Leone,who directed under the name Roberto Roberti. He was an only child and spenta great deal of time on his father’s film sets at Cinecittà in Rome, or on locationin Naples. As a young man he was an assistant on Vittorio De Sica’s seminalneo-realist film Bicycle Thieves and thereafter served in a variety of roles on asmany Italian productions as he could. Throughout the 1950s he built hisreputation as an assistant on many of the so-called ‘sword and sandal’ or‘peplum’ films, as well as on the action sequences of several Hollywood epicsthat shot in Italy, including Quo Vadis and Ben-Hur. When Director MarioBonnard fell ill during the filming of The Last Days of Pompeii in 1959, Leonestepped into the role, his apprenticeship complete.

MOMENTSIN TIME

ONCE UPON A TIME IN THE WESTTECHNISCOPE and the spaghetti western

A life-long fan of westerns, Leone finally saw anopportunity to make one himself when he went to ascreening of Kurosawa’s Yojimbo in 1963 anddecided that the story would perfectly suit an oldwest setting. Fistful of Dollars was released in1964, a low-budget Italian-German co-productionshot in Spain and starring a virtually unknownAmerican TV actor, Clint Eastwood. It was anextraordinary success. For a Few Dollars Morefollowed in 1965 and broke the box office recordsFistful had set, firmly establishing spaghetti westernsas the new craze genre of Italian cinema andinspiring a stampede of copycat productions.The final film of what came to be known as Leone’sDollars Trilogy was The Good, the Bad and theUgly, again starring Eastwood as the fast-drawingloner. By this time Hollywood had come calling andthe film, generously financed by United Artists, wasset against an epic backdrop of the American CivilWar. Released in 1966, it sold to dozens ofcountries and was another box office hit.

Leone, exhausted after making three westerns in asmany years, declared himself finished with thegenre and flew to America in an attempt to raisemoney for a gangster film he had been developing.United Artists had other ideas. They were pushingfor another western and Leone feared they mightforce him to cast unsuitable studio actors such asKirk Douglas or Charlton Heston. In the end hemade a deal with Paramount; he would still have tomake another western before the gangster film, buthe could make it absolutely on his own terms.�

44

MOMENTS IN TIME

Once Upon a Time in the West beganlife as a series of story meetingsbetween Leone and two young friends,Dario Argento and Bernardo Bertolucci,both of whom would go on to becomesuccessful directors in their own right.The three men met regularly at Leone’shome in late 1967 and screenedcountless American westerns, discussingand noting what they liked about eachone. Their story aimed to be anamalgam of all such stories, a distillationof frontier characters and conflicts soskillfully interwoven with references thataudiences would feel a sub-consciousconnection with the film.

Ennio Morricone, whose music wasalready an indelible element of Leone’sstyle, wrote the entire score for the filmbefore photography began. The directorhad long desired to not only edit butalso shoot a whole film to music, but itwas not until Once Upon a Time in theWest that he got his chance. Filmingbegan in April 1968 and Leone wasplaying recordings of Morricone’s musicwhile shooting scenes right from thebeginning. As with the Dollars Trilogy,the film was shot mute and all dialoguepost-dubbed, so playing music on set

was less of an issue. Each majorprotagonist had their own musicalsignature; leitmotifs that helped theactors with their performances and alsoexpressed the fluctuating dynamics oftheir characters’ relationships in themasterfully orchestrated final score.

DoP Tonino Delli Colli joined Leone for asecond time, having shot The Good, theBad and the Ugly. He was a wellestablished cinematographer, whoselighting and photography of Carlo Simi’sremarkable production design resulted ingenre-defining images. Despite thelauded achievements of a career thatspanned six decades, Delli Colliremained resolutely humble about thecameraman’s craft until his death in2005: “Look, we are not makingpoetry,” he once commented, “We turnthe lights on, and we switch them off.That’s what we do.”

Leone was a perfectionist, obsessivelyconcerned with tiny details of setdecoration, costume or framing. Thiscould make him infuriating to work with,though Delli Colli admired the sheervision behind such attention to detail:“Technically, he was a great director.

�AN ORIGINAL TECHNISCOPEMOVEMENT

45

VISIONARRI

Sometimes he would ask for a dolly oftwenty centimetres and I would say,“Why a dolly?” But when it was edited,you could notice those twenty centimeters.The public didn’t realize about thingslike this on a technical level, but feltthem psychologically.” The DoPaccompanied Leone on a location scoutto Monument Valley in Arizona, wheresome sequences were to be shot, anddescribed “Sergio excitedly telling mealmost all the shots in John Ford’s films:‘He shot from this angle. He placed thecamera here.’ And it was all in his head.”

Like all three Dollars films, this one wasshot using Techniscope, a 2 perforationwidescreen process that had beendeveloped by Technicolor Italia in Rome,primarily in order to avoid theconsiderable cost of anamorphicproduction. The system utilizedconventional 35mm film, but in camerasthat had been modified to pull the stockdown by two perforations at a time, asopposed to the normal four. Incombination with a 2.35:1 ratio gate, themodification resulted in two images beingexposed on top of each other within the4 perforation Academy area, effectivelydoubling the running time of each can of

film. This meant significant savings instock and developing costs, while alsocircumventing the need to rent expensiveanamorphic lenses. The laboratory wouldvertically stretch the images on thedeveloped negative with an optical printerand position each one in the4 perforation area to create the equivalentof an anamorphic release print.

The fact that Techniscope used sphericalcamera lenses eliminated many of thedifficulties associated with anamorphicfilming. The sphericals were faster, soDelli Colli needed less of a lighting kitfor the lengthy location shoot in Almeria,Spain. They did not distort close-ups,were sharper and had greater depth offield, which suited Leone’s penchant forimages containing faces in the extremeforeground and panoramic landscapesin the background. Indeed it is difficult to

imagine how the anamorphics of the daywould have allowed him to develop astyle in which the landscape is acharacter and the character’s facesare landscapes.

Various companies started providingTechniscope camera conversions fromthe early sixties as the format gained inpopularity. Mitchell Camera Corporationwere among the first; an advertisementin the January 1964 AmericanCinematographer offered conversion ofMitchell BNC and NC cameras for$1,400 and the ARRIFLEX 35mm reflexcameras for $1,300. Not long after this,ARRIFLEX brought out the 35 II CT/B, afactory-built 2 perforation camera for usewith the Techniscope process. It waspriced at $2,100 and featured a filmaperture of 9.5mm x 22mm behind a200° shutter.

“HE WOULD SHOOT A SCENEUP TO THIRTY TIMES…SERGIO WOULD PERFECT ATAKE AS HE WENT ALONGAND USED A LOT OF FILM.”

Delli Colli shot with converted Mitchellcameras on Once Upon a Time in theWest, but also made extensive use ofTechniscope ARRIs. “Working in Almeriawas hard because of the heat and thedust,” he commented, and being able touse such a lightweight camera madeshooting under the desert sunconsiderably less physically punishing.Camera noise was of no concern due tothe absence of sync-sound, so ARRIscould even be used for dialogue scenes.Their extreme portability compared tothe Mitchells allowed Delli Colli tochange set-ups with speed and ease,while the stock savings gave Leonegreater freedom to shoot as many takesas he wanted: “He would shoot a sceneup to thirty times,” recalled Delli Colli.“Sergio would perfect a take as he wentalong and used a lot of film.”

Techniscope was used on a great manyfilms, including The Ipcress File andAmerican Graffiti, but eventually diedout in the late 1970s. By this timeanamorphic lenses had improvedsubstantially in quality and opticalprinting had become prohibitivelyexpensive. However, with the currentemergence of the Digital Intermediatepost-production process, the format hasagain become an interesting option. TheARRISCAN is able to scan2 perforation negative just as easily asany other, obviating the necessity ofoptical printing. The tremendous savingsoffered by the system are therefore nolonger offset by other concerns, andstate-of-the-art ARRI cameras equippedwith 2 perforation movements are nowavailable for rent, making 35mmwidescreen production more affordablefor a new generation of filmmakers. �

Mark Hope-Jones

46

News from around the world

United Arab Emirates Joins ARRI Rental Group

Tim Smythe, CEO of production company Filmworks,commented: “As head of Filmworks, which hasfacilitated the Hollywood productions Syriana andKingdom, I believe that the feature film industry israpidly learning about this region and what it has tooffer filmmaking. I predict more feature films will becoming to the area in the near future and lookforward to being able to use the ARRI Media namewhile consulting with productions, because I know itis trusted.” His colleague Mofeed Abu Gebeen,Managing Director of Filmworks, agreed: “Thepresence of ARRI Media in the region raises myconfidence in the local industry as a whole. I have alot of faith in ARRI Media’s standards and servicesand look forward to being able to work in anenvironment with so much support.”

Representatives from both companies were alsopresent at CABSAT 2007, held at the DubaiInternational Convention and Exhibition Centre,6th-8th March. With over 8,000 attendees, the eventprovided the perfect platform to introduce anddemonstrate ARRI’s latest camera technology. Thisincluded the ARRIFLEX D-20, which made its firstappearance in Dubai.

“Dubai currently has a small industry but it isgrowing well,” summarises Anthony Smythe,“Our collaboration with ARRI Media means wehave access to the best equipment and technicalinformation, allowing us to keep up with thedemands of a developing market and ensuring thatwe continue to be the leading equipment rentalfacility in the Middle East.”

Dubai is already home to a busycommercials industry and thanks to thebeauty of its natural and urban landscapes,the growth of sophisticated local productionfacilities and anticipated governmentincentives, it is set to become the MiddleEast’s premier filming location.

Recognizing the potential of the emerging market in theUAE, ARRI Media London has entered into a newpartnership with Dubai based facility Filmquip to form oneof the largest equipment rental companies in the MiddleEast. Filmquip has been successfully supplying productionswith camera, lighting and grip equipment for the past sixyears. The agreement, which has seen the companyrelaunch as Filmquip Media, now means that clients willhave access to one of the most extensive selections ofcamera equipment in the region.

ARRI Media will support Filmquip Media with an inventoryof ARRIFLEX 35mm and 16mm cameras, as well as anextensive selection of lenses and accessories. “With thisdeal, we will be able to provide a range of equipment thathas never been available in the Middle East before,” saysAnthony Smythe, Filmquip Media’s Managing Director.Filmquip Media will also be an official representative forthe ARRIFLEX D-20.

The new partnership and new name was celebrated with alaunch party in March, where representatives from bothARRI Media and Filmquip Media welcomed over 100local industry professionals. Those with overseasexperienced recognised the advantage of the partnership.Ian Ross, Executive Producer, stated: “Having worked withARRI Media in the UK we are delighted to have theirpresence in this region. It should bring a bigger variety ofbetter equipment, as well as very solid backup from acompany that has so much worldwide experience.”

�GUESTS ENJOYING Filmquip Media’s launch party

�ARRI MEDIA’S MD, Philip Cooper, with Filmquip Media’s MD,Anthony Smythe (left to right)

� FILMQUIP MEDIA’S STAND at CABSAT 2007

47

VISIONARRI

New ARRI Rental Partner in Spain.

A family owned business founded byManuel Berenguer ASC, acclaimedInternational Director of Photography,opened its doors for business in the lateseventies. Today, Camara Rental hasoffices in Barcelona, Madrid and Malaga,and is run by Andres Berenguer ASCand Alvaro Berenguer in the commercialdepartment, Javier Miñaca in theadministration department and SylviaJacuinde for international relations.

They have just opened a new facility inEurope’s newest and largest studios,Ciudad de la Luz Studios in Alicante,currently shooting an internationalfeature Garden of Eden with DoP AshleyRowe BSC. With plans of expandinginto emerging international markets, theycan already be found in Casablanca(Morocco), Boyana Studios Sofia(Bulgaria) and Caracas (Venezuela).

With an extensive inventory of 35mmand 16mm ARRI cameras and lensesand a full line of grip equipment:TechnoCranes, SwissJib, Remote3-axis Heads, Camara Rental is keento embrace the latest digital cameratechnology on offer from theARRI Rental Group.

With this in mind Andrew Prior,ARRI Media’s Digital Camera Managertravelled to Madrid to host a D-20workshop for Camara Rental prep-technicians, engineers and free-lancetechnicians. The group was quick to

understand the basic concepts and operation of the ‘digitalfilm-style camera’. The fact that the D-20’s basic design isbased on the 435, 535 and ARRICAM allowed the group topick up the systems functionality very quickly.

Paco Femenia, one of Spain’s leading cinematographers wholast year shot Alatriste, was keen to familiarise himself with thenew technology on a three day shoot, a short film titledAccion- Reaccion, shot on location in Madrid.

It was the first time the D-20 has been used in Spain for a realshoot and was thoroughly enjoyed by both cameraman andcrew. Shooting incorporated every type of lighting condition,and set up, including day and night interiors and exteriors.Femenia shot in 4:4:4 uncompressed, lighting and operatingthe D-20 much like he would a 35mm camera.The crew used the SRW-1 and FlashMag recording systems forboth dolly and handheld camera set ups. Both theDirector and DoP commented on the D-20’s stunning imagequality and the feedback on the cameras functionality wasextremely positive.


The ARRI Rental Group are delighted to announce another addition to theirinternational rental network. Camara Rental has recently been appointedan official ARRI Rental Partner.

� CAMARA RENTAL TEAM, Alvaro Berenguer, Sylvia Jacuinde, Andres Berenguer,Javier Miñaca (left to right)

� DoP FRANCISCO FEMENIA

� PART OF THE CREW, Juan Carlos, Tono and Manolo (left to right)

�

Philipp Bartel (Head of Post Production) andJulia Eberl (Producer) are welcoming a newmember to their team. As of May 2007,29-year-old Juliane Schmid will join theirsupport staff. The native Berliner is highlyexperienced, having spent the last coupleof years at the post production house“Pictorion das Werk.”

We wish Juliane Schmid a great start in Munich andlots of success on the job.

The Commercial team would also like to extend theirbest wishes to Julia Eberl. Instead of breaking downstoryboards, she will, temporarily, dedicate her timeto her family business and change diapers. We lookforward to her return in 2008.

NEWS FROM AROUND THE WORLD

48


ARRI Media has joined sister companyARRI Lighting Rental in Manchester inresponse to the region’s currentshooting boom.

The BBC’s commitment in recent years to increasespend on TV drama produced outside London hashad a significant impact in boosting production in theNorth. A steady rise in commissions with localindependent production companies has producedmany successful shows for the BBC and this has seenother channels follow closely in their footsteps.Manchester is now at the heart of the biggestproduction community outside the capital.

The current increase in production, together with theBBC’s decision to choose Manchester as the preferredlocation for its anticipated move north has promptedARRI Media to join ARRI Lighting Rental and expandinto the region. ARRI Lighting Rental has successfullyserviced productions with lighting from their base inSalford, Manchester for the past 15 years. Now,following the completion of an extensiverefurbishment programme at the Salford site, togetherboth companies are able to offer the completeshooting package to productions in the North West.

The completion of the refurbishment at Manchesterwas marked with an open day in February, wherelocal industry professionals were invited along toview the new facilities and find out all about the latestcamera and lighting equipment on offer. Staff fromARRI Media and ARRI Lighting Rental were on handto demonstrate products and answer questions.

One of the biggest attractions was the ARRIFLEX D-20,which was the subject of many questions from guests.Another big draw of the day was the new ARRIFLEX416 and Ultra 16 lenses. As well as a whole host ofcamera equipment there was also a range of the latestlighting equipment on display, including the ARRIMAX,the most powerful HMI available.

The open day was well attended, increasing localawareness for ARRI Lighting Rental and ARRI Media.Tommy Moran, Managing Director of ARRI LightingRental, commented: “The open day was a greatsuccess and helped us to show the local industry thatwe are in a position to offer productions the completepackage for lighting, cameras, grip andconsumables, all with the same dedication and levelof service available from our London headquarters.”

ARRI Lighting Rental & ARRI Media OpenTheir Doors to Productions in the North

� GUESTS AND STAFF at the open day

� JULIANE SCHMID

Additional Support for ARRI Commercial

49

Steve LawesDirector of Photography

1 What film first inspired you to work in this industry?MadMax – probably shouldn’t have been watching at theage of 10! Australia’s first stab at an anamorphic film,way ahead of it’s time, a real cult classic.

2 What’s your cure for the “morning after the wrapparty” feeling?Quite straight forward this one, to still be up until the morning afterthe wrap party.

3 Name three things that make you smile?My little girl Lilah.All These Things That I’ve Done by the band The Killers.The sound my Honda Type-R makes.

4 What was the first car you ever owned?VW Beetle that I bought from a so called friend at college for£150. He forgot to mention that if you turned the heating on, youwould nearly pass out from the exhaust fumes. Contrary to popularbelief – the most un-reliable car ever (well mine was).

5 What’s the one thing you can’t live without?Music – always been a big part of my life, If I was in Lost,I’d want my iPod.

6 If your life was a film, what would it beand why?It would have to be The Money Pit – after spending sevenyears renovating an old victorian house and still not quitehaving finished it yet.

7 What’s your most embarrassing moment?When I was working on The Lakes as a clapper loader, it was athree day weekend and the unit had been based at our hotel inUlswater for eight weeks. On the Tuesday morning, Olly Tellett andmyself left our rooms for breakfast only to find that the unit hadmoved, two hours up the road… Moral of the story: ALWAYS readthe call sheet!

8 Who inspires you?Directors: Krzysztof Kieslowski, Jean-Pierre Jeunet, MathieuKassovitz, Michel Gondry. Cinematographers: Roger Deakins,Chris Menges, Slawomir Idziak, Janusz Kaminski.

9 Name three people (living or dead) you’d most like todine with?Elvis – Who wouldn’t want to dine with the King?Billy Bob Thornton – I’m sure he’s got something interesting to say.Kylie Minogue – Don’t think I need to justify this one.

10What was the last film you saw?Sunshine – fantastic achievement and looked stunning.

Take

10?Did youKnow

The Departed 2006The film employed a retired detective, who had spent hisworking life specialising is organised crime, as a technicaladvisor. During his career he was involved in a case againsta notorious South Boston gangster known as Whitey Bulger,whom Jack Nicholson’s character Frank Costello is partlybased on. He was also given a small role in the film as theofficial who delivers a speech to the graduating police cadets.

The Black Dahlia 2006The film is based on James Ellroy’s novel about a police huntin the forties for the killer of starlet Elizabeth Short. The novelwas actually based in part on the true story of the murder of agirl called Elizabeth Short, an aspiring actress who moved toHollywood in the late forties. A wannabe who never managedto get her big break into films, she disappeared in January1947. The discovery of her mutilated body was widely coveredin the press but her murderer was never caught.

Actual autopsy photographs of the realElizabeth Short were used in the film.

Babel 2006

The part of the plot that unfolds in Japaninvolves a deaf and mute girl. The DoP, Rodrigo Prieto, usedshallow depth of field to represent not being able to hearanything and shot all the scenes for this part of the story usinganamorphic lenses so that the depth of field would be minimal.

Hot Fuzz 2007Edgar Wright (Co-writer & Director) and Simon Pegg(Co-writer & Lead) got their mothers to appear in the film.They play the judges for the ‘Best Kept Village’ competition.

Brokeback Mountain 2005Much of the visual effect work involved adding in CGI sheep.The film, about two young men who meet while sheepherding, required a few thousand sheep but only700 were used during shooting,necessitating the addition of manymore woolly creatures.

Children of Men 2006In a scene a car is seen driving past a heavily guarded gateand over a bridge towards Battersea Power Station, between thesmoke stacks of the power station a floating pig can be seen – arecreation of the cover image of the Pink Floyd album Animals.

50

When itCounts…

Achieve superb image quality at lower costs with 2 perforation.

The 2 perforation format has a widescreen look made famous bythe likes of Sergio Leone with titles such as A Fistful of Dollars andThe Good, the Bad and the Ugly. Unfortunately, the format disappearedat the end of the seventies as the coarse grain structure of availablecamera negative and intermediate stocks, together with the opticalprocess of the time did not yield good enough results.

Today’s modern super fine grained film stocks and ultra sharp lenses, as well as the advent of theDigital Intermediate, all combine to achieve a 2 perforation image of superb quality, and as aresult the ARRI Rental Group is introducing a new 2 perforation movement. The ARRICAM Studio,ARRICAM Lite and ARRIFLEX 235 will all be available in 2 perforation.

Ideal for cost-conscious filmmakers looking to compose a widescreen image, the format achievesa natural CinemaScope aspect ratio of 2.39:1 on standard 35mm film stock. It is also suitablefor 1.85:1 and 1.78:1.

The quantity of film used is reduced because it is advanced by 2 perforations instead of thetraditional 4 perforations, eliminating the previously unused space between frames.This translates to less stock and, consequently, a reduction in processing costs,with only a minimal reduction in negative area compared to 4 perforation.

*To capture 10 hours of images: 2 perforation needs 72 x 400ft rolls, 4 perforation needs 154 x 400ft rolls.(Saving calculation based on 50ft waste with 4 perforation and 25ft waste with 2 perforation)

2 Perforation Uses 53% Less Film Stock*

Running Time of Running Time of400ft Magazine 1000ft Magazine

2 Perforation 8 minutes 34 seconds 21 minutes 26 seconds

4 Perforation 4 minutes 17 seconds 10 minutes 43 seconds

ADVANTAGES

Less raw stock

More running time permagazine, longer takes

More takes per magazine

Fewer reloads

Fewer short ends

Savings on lab costs

Ideal for DigitalIntermediate route

SELECTION OF FORMATS FOR 2 PERFORATION

1.78: 16.29 x 9.15mm

1.85: 16.93 x 9.15mm

2.39: 21.87 x 9.15mm

51

VISIONARRI

There are also benefits on set as 2 perforation increases the running time of a magazine by more than 100%to provide more shooting time. This means longer takes and fewer reloads, as well as fewer short ends,providing increased efficiency while filming.

2 perforation is the ideal candidate for Digital Intermediate, the negative can be scanned and all post-production performed digitally. Images can then be recorded back onto a 4 perforation Intermediate Negative(IN) or Intermediate Positive (IP) to create a 4 perforation release print.

Achieve costs savings and retain image quality with 2 perforation – the economical route for 35mm film production.

Film DailiesFilm Projector2 Perforation

Video DailiesMonitor

Telecine Videotape �

Telecine Video Edit Broadcast Master

ScanOnline EditDust Bust

Conform & GradeDigital Effects

�ContactPrinting

ContactPrinting

DailiesPositive

2 Perforation

IntermediateNegative

4 Perforation

Release Print4 Perforation

TELEVISION

BROADCAST

DIGITALINTERMEDIATE

FILM

DAILIES

Broadcast

2 PERFORATION POST-PRODUCTION WORKFLOW

52

The new focal lengths exhibit the same key features that have made theexisting Master Primes such a worldwide success. Extraordinary sharpness,increased contrast, minimal breathing, dramatically reduced flare, minimizedchromatic aberrations and an even illumination of the whole Super 35 frameall combine to provide superior optical performance.

The shape of both new focal lengths has been matched to the currentMaster Prime lenses as closely as possible without compromising opticalquality. The back end is the same as on all the other Master Primes, and thefocus and iris rings are in exactly the same positions. The Master Prime 14 isslightly longer, but still retains the same 114mm front diameter, while theMaster Prime 150mm is longer and required a wider front diameter of 134mm.

All Master Primes have an extended iris range of T1.3 to T22 and displayvirtually no breathing. The widest aperture of T1.3 allows shots in low light andwith dramatically reduced depth of field. Unlike previous high-speed lenses, theMaster Primes have been optimized for a uniform optical performance acrossthe whole t-stop range: they can not only capture details in the darkest cornerat night that other lenses simply cannot see, but even in blazing sunlight theirspecial construction, internal light traps and advanced T* XP anti-reflectioncoating protects the dark areas, creating a high contrast image with a welldefined range from the darkest to the brightest part of the scene.

The Master Primes are now a family of 14 high-speed lenses that offerunequalled performance in any lighting situation, whether day or night,interior or exterior.

New Additions toMaster Prime Family

UPDATEPRODUCT

Wireless Remote System YellowSoftware UpgradeAs more and more wireless devices crowd the airwaves the risk of interference grows.The Wireless Remote System (WRS) has been upgraded to make its transmissionsubstantially more resistant to interference, especially from video transmitters.

The transmission of data by the WRS is based on the ARRI Wireless Networking Protocol. Careful analysisof the most common video transmitters has led to new insights into minimizing interference. The yellowsoftware upgrade provides increased resistance as it modifies the size and frequency of the data packets fora higher total system data rate, allowing better and smoother motor control – even when data packets are lost.

Upgraded WRS units are identified by a yellow washer under the antenna, hence the update is known as‘yellow software’.

The Master Prime family of lenses is growing wider and longerwith the addition of two new focal lengths, the Master Prime14mm and the Master Prime 150mm.

- Feature richFull remote control of lens and cameraLens Data System provides lens info onLDD-FP displayWireless speed and depth of field ramps

- ModularMany configurations possibleSimple snap-on connectionAutomatic, smart identification ofcomponents

- Multi-unit capabilityUp to three hand units can communicatewith one cameraMultiple cameras, each with three handsunits are possible on one set

- Small & lightweight- Robust transmission (yellow software)- Compatible with film and video cameras

- Camera-side transmitter and motor drivesare built into:ARRICAMs with Lens Data BoxARRIFLEX 435 XtremeARRIFLEX 416 PlusUMC-3(for all other film and video cameras)

Master Primes Facts

- 14 high-speed (T1.3)Super 35 primes

- 14, 16, 18, 21, 25, 27, 32, 35, 40,50, 65, 75, 100 & 150mm

- Superior optical performance

Sharper, more contrast

No geometric distortion

Dramatically reduced flare

Minimized chromatic aberration

- Virtually no breathing due to DualFloating Element technology

- Extended iris range of T1.3 to T22across all focal lengths

- Super Colour Matched to Ultra Primes,Lightweight Zoom LWZ-1, Master Zoomand Ultra 16 lenses

Wireless Remote System Facts

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VISIONARRI

Rain DeflectorA compact, lightweight, on axis rain deflector that can be mounted on 19mm studio support rods orinverted and used with a low mode bracket set.

Driven by three motors, an optical disc rotates at high speed to deflect rain from the front of the lens. The disc has beenspecially designed to produce less than a 2% loss in contrast and is capable of reaching a maximum speed of 7200rpm.The system is powered directly from the camera accessory connector or via an external battery.

UDM-1 Facts

- Small, lightweight and easy to use

- Compatible with film and digital cameras

- Capable of measuring distances from 1ft 2” to 30ft

- Can be used remotely, such as when a camera is mounted on a crane,without the need for any additional controls

- In-built filtering function allows foreground and background limits to be set

- Integrates with Wireless Remote System (yellow software)

- Large, bright LCD display for easy viewing in all lighting conditions

- LCD display includes depth of field indicator

- Providing the Lens Data Display for Focus Puller LDD-FP is used, the sensorcan be operated independently of the control box, which is only requiredfor parameter adjustment

The UDM -1 isexclusive to theARRI Rental Group

The RainDeflector isexclusive tothe ARRIRental Group

Ultrasonic Distance Measure UDM-1

The UDM -1 has the advantage of a built-in filtering function which allows the user to accurately set foreground and backgroundlimits; objects that fall outside of the programmed area are ignored. The system also integrates seamlessly with the ARRIWireless Remote System WRS, sending the signal directly to the WRS main unit, which displays the measured distance on theLens Data Display for Focus Puller LDD-FP. When using the UDM -1 with the LDD-FP, you have the option to let the focus motorcontinuously set the lens to the measured distance, thus auto-tracking the focus. This auto-tracking feature can be engaged anddis-engaged quickly with either a button on the LDD-FP or alternatively with a button on the WHA-3 or WHA-4.

A small, lightweight ultrasonic distance measuring device that can be mounted on a camera.Comprising of a sensor and control box, the Ultrasonic Distance Measure UDM-1 is compatible with allfilm cameras, digital cameras and lenses. Easy to set up and use, the sensor bounces ultrasonic signalsoff objects and calculates the distance by the time taken for the reflected signal to return. The measuredvalue is then shown on the LCD display, either in feet and inches or metres and centimetres.

Rain Deflector Facts

- Compact and lightweight

- Ideal for hand-held and Steadicam applications

- Accommodates most primes, from 14mm (Super 35) on, as well as small zooms

- Variable speed control with maximum rate of 7200rpm

- Design incorporates 4” x 5.65” filter trays, mattes and light shields from the MB-18

- Specially designed optical disc produces less than 2% contrast loss

- Low power consumption, powered directly from camera or by external battery

- Removable sunshade

PRODUCTION UPDATE

54

ARRI RENTALProject Name Production Company Director DoP EquipmentAdam Resurrected ADAM Productions Paul Schrader Sebastian Edschmied ARRICAM ST/LT, Cooke S4s, Ultra

Primes, 24-290mm AngenieuxOptimo, ARRI Shift & Tilt,3 perforation, Grip

Hafen der Hoffnung - Ufa Filmproduktion Leipzig Joseph Vilsmaier Jörg Widmer ARRIFLEX 16SR3, 435, Ultra16,Die letzte Fahrt der Ultra Primes, Canon Zoom 6,Wilhelm Gustloff 6-66mm & 10,6-180mm, Lighting, GripJohn Adams HBO Films Tom Hooper Tak Fujimoto, ARRICAM ST/LT, Master Primes,

Daniel Cohen 15-40mm, 17-80mm & 24-290mmAngenieux Optimo

Keinohrhasen Barefoot Films Til Schweiger Christof Wahl ARRICAM ST/LT, Cooke S4s, 8mmUltraR, 24-290mm AngenieuxOptimo, 3 perforation

Krabat Claussen+Wöbke+ Marco Kreuzpaintner Daniel Gottschalk ARRICAM ST/LT, Ultra Primes,Putz Filmproduktion 25-250mm & 17-102mm Angenieux,

3 perforation, Lighting, GripMeine schöne X-Filme Vanessa Jopp Hans Fromm ARRICAM ST/LT, 435, Master Primes,Bescherung Master Zoom, 3 perforation, LightingPrisoners of the Sun Miromar Entertainment Roger Christian Ed Wild ARRIFLEX D-20, 435, Ultra PrimesSpeed Racer Warner Bros. Pictures Andy Wachowski, David Tattersall Lighting, Grip

Larry WachowskiThe Chronicles of Walden Media Andrew Adamson Karl Walter Lindenlaub ARRICAM ST/LT, 435, 235, MasterNarnia: Prince Caspian Primes, Master Zoom, Lighting, GripThe Company Sony Pictures Mikael Salomon Ben Nott ARRIFLEX D-20, 435, Master Primes,

Ultra Primes, Master Zoom, Lighting, GripTown Creek Up a Creek Productions Joel Schumacher Darko Suvak ARRICAM LT, 435, 235, Master Primes,

Master Zoom, ARRI Shift&Tilt,3 perforation

Warum Männer nicht Constantin Filmproduktion Leander Haußmann Tilmann Büttner ARRICAM ST/LT, Cooke S4s,15-40mm,zuhören und Frauen 17-80mm & 24-290 mm Angenieuxschlecht einparken Optimo, 3 perforation, Lighting, Gripkönnen

ARRI MEDIATitle Production Company Director DoP EquipmentEastern Promises Focus Features David Cronenberg Peter Suschitzky BSC ARRICAM ST/LT, Master PrimesThe Bourne Ultimatum Universal Paul Greengrass Oliver Wood ARRICAM ST/LT, 235, Cooke S4sIn Bruges Bell Tower Productions Martin McDonagh Eigil Bryld ARRICAM ST/LT, 3 perforation,

Master PrimesThe Bank Job Skyline (Baker Street) Roger Donaldson Michael Coulter BSC D-20, Master PrimesSt Trinian’s Mayhem Films Ltd Oliver Parker and Gavin Finney BSC ARRICAM ST/LT, 3 perforation,

Barnaby Thompson Cooke S4sSense & Sensibility BBC Drama John Alexander Sean Bobbitt BSC ARRIFLEX 416, Cooke S4sBoy A Cuba Pictures John Crowley Rob Hardy ARRIFLEX 416, Master PrimesBono, Bob, Brian & Me Bono Bob Ltd David L Williams Stuart Biddlecombe Sony 750P HD and ZoomsPrimeval 2 Impossible Pictures Jamie Payne Adam Suschitzky ARRIFLEX 416. Cooke S4sCity of Ember Walden Media Gil Kenan Xavier Grobert ARRICAM ST/LT ARRIFLEX 235,

Cooke S4s

ARRI LIGHTING RENTALTitle Production Company Director DoP Gaffer Rigging Gaffer Best BoyPrimeval 2 Impossible Pictures Jamie Payne Adam Suschitzky Stewart King Steve AnthonyCity Of Ember Walden Media Gil Kenan Xavier Grobert Chuck Finch Brian Livingstone Billy MerrellSpooks Kudos Kieran Mcguigan/ Mark Clayton/ Richard Potter

Damien Bromley James SummersUntitled 06 Potboiler Productions Mike Leigh Dick Pope BSC Matt Moffatt Kevin FitzpatrickCranford Chronicles BBC Steve Hudson Ben Smitthard Alan Martin Terry MontagueThe Edge Of Love Jitterbug Productions John Maybury Jonathan Freeman John Colley Andy ColeSense & Sensibility BBC John Alexander Sean Bobbitt BSC Brian Beaumont Ian GlennisterIn Bruges Bell Tower Productions Martin McDonagh Eigil Bryld Andy Long Warren Ewen Mark HanlonEastern Promises Focus Features David Cronenberg Peter Suschitzky BSC John Colley Vince Madden Andy ColeThe Bank Job Skyline (Baker Street) Roger Donaldson Michael Coulter BSC Terry Edland Paul ToomyBritz Daybreak Pictures Peter Kosminsky David Higgs Steve Kitchen Pat SweenyHow To Lose Friends Number 9 Films Robert B Weide Oliver Stapleton BSC Larry Prinz Phil Penfold Mark Funnell& Alienate PeopleBoy A Cuba Pictures John Crowley Rob Hardy Billy Tracey Ian Jackson

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 improvequality and design, modifications may be made to products from time to time. Details of availability and specifications given in this publication are subject to change without notice.

55

VISIONARRI

ARRI CSCProject Name Production Company DoP Gaffer Equipment Serviced byBourne Ultimatum Beach City Productions Oliver Wood Russell Engels ARRICAM ST/LT ARRI CSC NY

ARRIFLEX 435, 235Lighting, Grip

Mancora Pacificus LLC Leandro Filloy ARRICAM LT (3 perf.) ARRI CSC FLOctober Road October Road Prods. Theo Van Sande ARRICAM ST/LT, 435 ARRI CSC FL (3 perforation)On The Lot Shooting Stars Pictures Various Oscar Dorminquez Automated Lighting Illumination DynamicsPathology Lakeshore Entertainment Ekkehart Pollack Justin DuVal Lighting, Grip Illumination DynamicsProm Night Original Film Checco Varese Danny Ecclestone Automated Lighting Illumination DynamicsRevolutionary Road DWNY Prods. Inc. Roger Deakins ASC,BSC Bill O’Leary Lighting, Grip ARRI CSC NYSunshine Cleaning Sunshine Cleaning Prod. John Toon ARRICAM LT x 2 (3 perf.) ARRI CSC FLSynecdoche Mysterious Condition LLC Frederick Elmes ASC Jonathan Lumley ARRICAM ST/LT ARRI CSC NY (3 perforation)

Lighting, GripThe Return Return Prods. Inc. Declan Quinn ASC ARRIFLEX 416 ARRI CSC NY30 Rock NBC Vanja Cernjul ARRICAM LT (3 perf.) ARRI CSC NY

Project Name Production Company Director DoP EquipmentAlzheimer Boomerang Productions Wim Wenders Greig Fraser ARRIFLEX 416, Ultra 16 LensesHeineken Shoot Oz Pty Ltd Colin Gregg Giles Nuttgens ARRICAM LT, Zeiss Highspeed LensesAAMI Plaza Films Paul Middleditch Tristan Milani ARRICAM ST, Cooke S4sMcLeod’s Daughters Millennium Television Various Various ARRIFLEX SR3 (x3), Zeiss Highspeed- Series 7 Lenses, Zeiss ZoomsEast of Everything Twenty Twenty Pty Ltd Stuart MacDonald Brendan Lavelle ACS 2 x SR3, Zeiss Highspeed Lenses,

& Matthew Saville Canon ZoomsOlympus Good Oil Films Matt Murphy James Cowley ARRICAM LT, Cooke S4s, 24-290

AngenieuxFox Sports Good Oil Films Miles Murphy Robert Humphries ACS ARRICAM LTWounded AFTRS Natalie Palomo John Brawley D-20, Ultra Primes

ARRI AUSTRALIA

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURESTitle Production Company Director DoP ServicesCharleston and Vendetta Blue Pen Uros Stojanovic Dusan Ivanovic Lab, 2K DI, Sound, TV-MasteringDie Frauen des Anarchisten P`ARTISAN Filmproduktion Marie Noëlle Jean-Francois Robin Lab, 2K DI, Sound, TV-MasteringFair Trade Michael Dreher Filmproduktion Michael Dreher Yann Philippe Blumers Lab, 2K DI, TV-MasteringFatamorgana Enigma Film Simon Groß Peter Steuger Lab, TV-Mastering, VFXHanami (Kirschblüten) Olga Film Doris Dörrie Lab, Sound, TV-MasteringJump LWB Media Joshua Sinclair Gianlorenzo Battaglia Lab, Sound, TV-MasteringKrabat Claussen+Wöbke+ Marco Kreuzpaintner Daniel Gottschalk Lab, DI, Sound, TV-Mastering

Putz FilmproduktionMeer is nich Ostlight Filmproduktion Hagen Keller Philipp Kirsamer Lab, DI, TV-MasteringNordwand Dor Film West Philipp Stölzl Kolja Brandt Lab, DI, TV-MasteringPrinz Edouard, Max Minsky X Filme Anna Justice Ngo The Chau Lab, TV-Masteringund ichSommer 69 Constantin Film Produktion Marc Rothemund Martin Langer Lab, Sound, TV-MasteringStellungswechsel Claussen+Wöbke+ Maggie Peren Christian Rein Lab, Sound, TV-Mastering

Putz FilmproduktionUlzhan Volksfilm Volker Schlöndorff Tom Fährmann Lab, DI, TV-Mastering

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALSClient Title Production Company Agency Director DoPFerrero Giotto Eduardo e+p commercial Xynias, Wetzel Agust Baldursson Nicolaj BruelMcDonald’s Asia Wochen/ diverse Picture Sharks Heye & Partner Paul Harather Matthias FuchsATU Diverse Bakery Films Serviceplan Ralf Huettner Serge RomanToyota Auris Sunrise GAP Films Change Communications Charly Stadler Stefan von BorbelyToyota Formel 1 R.TV Film & Fernsehen Tobias Heppermann Thomas StokowskiCortal Consors Science Fiction, Serviceplan D. Bardini/

Gold, Stier J. SchoepferKent Kent Europe Filmklub Istanbul saatchi & saatchi Erol ÖzleviStabilo Schriftbild First Frame Serviceplan Norman Hafezi Bernd WondolekMcDonald’s Hüttengaudi HMF Heye & Partner Jens Junker Marc RogollFisherman’s Friend Diverse GAP Films Megacult Philip Haucke Pascal WalderMcDonald’s Los Wochos Rapid Eye Movement Heye & Partner Werner Kranwetvogel Dieter Deventer

/ E.C.K. (Food)Mentos Putzfrau Regiepapst specktakulär Andreas EinbeckPlaymobil Sommer 2007 e+p commercial Reiner Holzemer Peter AichholzerMcDonald’s Schmecktakel G.L.A.S.S Film / Heye & Partner E.C.K. (Food) John F. Keen (Food)

Rapid Eye Movement (Food)Sony Ericsson Valentine’s Serviceplan Martin Graf /

Niels van HoekMüller Froop Wette Made in Munich Springer & Jacoby Caroline Link Bella HalbenFerrero Garden e+p commercial Hp Albrecht Sönke Wortmann Britta Mangold

Running Time of Running Time of400ft Magazine 1000ft Magazine

2 Perforation 8 min 34 sec 21 min 26 sec

4 Perforation 4 min 17 sec 10 min 43 sec

The 2 perforation format, with a widescreen look made famous by the likes of Sergio Leone, disappeared at the end of theseventies. Until now.

Today’s modern super fine grained film stocks and ultra sharp lenses combine to achieve a 2 perforation image of superbquality, and as a result the ARRI Rental Group is introducing a new 2 perforation movement.

Ideal for cost-conscious filmmakers looking to compose a widescreen image, the format achieves a natural CinemaScopeaspect ratio of 2.39:1 on standard 35mm film stock. The quantity of film used is reduced because it is advanced by2 perforations instead of 4 perforations. This translates to less stock and, consequently, a reduction in processing costs.

Achieve cost savings and retain the quality of 35mm with 2 perforation.

WHEN IT COUNTS...

5Perforation65mmARRIFLEX 765

4Perforation35mmARRICAM StudioARRICAM LiteARRIFLEX 535BARRIFLEX 435ARRIFLEX 235

3Perforation35mmARRICAM StudioARRICAM LiteARRIFLEX 535BARRIFLEX 435ARRIFLEX 235

2Perforation35mmARRICAM StudioARRICAM LiteARRIFLEX 235

*To capture 10 hours of images: 2 perforation needs 72 x 400ft rolls, 4 perforation needs 154 x 400ft rolls.(Saving calculation based on 50ft waste with 4 perforation and 25ft waste with 2 perforation)

www.arri.com

2 Perforation Uses 53% Less Film Stock*

1Perforation16mmARRIFLEX 416ARRIFLEX 416 PlusARRIFLEX16SR3AdvancedARRIFLEX16SR3AdvancedHigh-speed

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