visionarri magazine issue 3

HogfatherD-20 shoots Christmas specialfor SKY TV

Sony Paints the TownTwenty-two storey tower blockstars in colourful commercial

SunshineInterview with DoP Alwin Kuchler BSC

Trading PostCrime drama posts at ARRI Film & TV

PERFUMETHE STORYOF A MURDERER

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

12/06 ISSUE 3

Director Tom Tykwer andDoP Frank Griebe discuss theshoot and post-production

AUSTRALIAARRI Australia, SydneyCamerasKate Walton, Bill RossT +61 2 9855 [email protected]@arri.com.auAUSTRIAARRI Rental ViennaCamerasGerhard GiesserT +43 (1)877 6938 [email protected] REPUBLICARRI Rental PragueLighting, GripRobert KeilT +42 023 431 [email protected] Rental BerlinCameras, Lighting, GripFritz SammerT +49 30 [email protected] Rental CologneCamerasStefan WeißT +49 221 170 [email protected] Rental MunichCameras, Digital, Lighting, GripThomas LoherT +49 89 3809 [email protected] Film & TV Services, MunichFilm Lab, Digital IntermediateVisual Effects, Sound, Studio,CinemaKey Account ManagerAngela ReedwischT +49 89 3809 [email protected] National SalesWalter BrusT +49 89 3809 [email protected] of ARRI LabJosef ReidingerT +49 89 3809 [email protected] of ARRI Digital FilmHenning RadleinT +49 89 3809 [email protected] of ARRI SoundBernd ClaussT +49 89 3809 [email protected]

Schwarz Film BerlinPostproduction GmbHFilm Lab, Digital IntermediateThomas MulackT +49 30 887 08 [email protected] Film GmbHLudwigsburgFilm Lab, Digital IntermediateJeanette JaussiT +49 7141 125 [email protected] Rental LuxembourgCamerasSteffen DitterT +352 2670 [email protected] Film AG,Ostermundigen, ZürichFilm Lab, Digital IntermediatePhilipp TschäppätT +41 31 938 11 [email protected] KINGDOMARRI Lighting Rental, LondonLightingTommy MoranT +44 1895 457 [email protected] Focus, LondonShort term lighting hire forcommercials & promosMartin Maund, George MartinT +44 1895 810 [email protected]@arrifocus.com

ARRI Media, LondonCameras, Digital, GripPhilip CooperT +44 1895 457 [email protected]

ARRI Crew, LondonDiary ServiceKate CollierT +44 1895 457 [email protected]

ARRI PARTNERS & ASSOCIATES

The ARRI Rental Group and ARRI Film & TV Services canprovide you with a complete service that can see yourproject through from start to finish. An extensive network ofARRI rental companies, as well as ARRI rental partners andassociates, ensures the latest high quality equipment isavailable throughout the world. ARRI Film & TV Services

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

THE WORLD JUST GOT SMALLER

ARRI SUBSIDIARIESUSAARRI CSC, New YorkCameras, Digital, Lighting, GripSimon Broad,Hardwrick JohnsonT +1 212 757 [email protected]@cameraservice.com

ARRI CSC, FloridaCameras, Digital, Lighting, GripEd StammT +1 954 322 [email protected]

Illumination Dynamics, LALighting, GripCarly Barber, Maria CarpenterT +1 818 686 [email protected]@illuminationdynamics.com

Illumination Dynamics,North Carolina,Lighting, GripJeff PentekT +1 704 679 [email protected]

BULGARIABoyana Film Studios, SofiaCameras, Lighting, GripLazar LazarovT +359 2958 [email protected]

CYPRUSSeahorse Films,Nicosia, PaphosCameras, Digital, Lighting,Grip, StudioAndros AchilleosT +357 9967 [email protected]

CZECH REPUBLICDEBRA, PragueCamerasIvan JiranekT+42 022 056 [email protected]

FRANCEBogard, ParisCameras, Digital, GripDidier Bogard, Alain GrellierT +33 1 49 33 16 [email protected]@bogardsa.com

GERMANYMaddel’s Camera GmbH,HamburgCameras, GripMatthias NeumannT +49 4066 [email protected]

HUNGARYVision Team, BudapestCameras, Lighting, GripGabor RajnaT +36 1 433 [email protected]

ICELANDPegasus Pictures, ReykjavikCameras, Lighting, Grip

Snorri ThorissonT +354 414 [email protected]

IRELANDThe Production Depot,Co WicklowCameras, Lighting, GripJohn Leahy, Dave LeahyT +353 1 276 [email protected]@production-depot.com

JAPANNAC Image Technology Inc.TokyoCameras, DigitalTomofumi MasudaHiromi ShindomeT +81 3 5211 7960T +81 3 5211 [email protected] ZEALANDCamera Tech, WellingtonCamerasPeter FlemingT +64 4562 [email protected]

RUSSIAACT Film Facilities Agency,St. PetersburgCameras, Lighting, GripSergei AstakhovT +7 812 110 [email protected]

SOUTH AFRICAMedia Film Service,Cape Town, Johannesburg,Durban, NamibiaCameras, Digital, Lighting,Grip, StudioJannie Van WykT +27 21 511 [email protected]

VISIONARRI

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

CONTENTS

4PERFUME – THE STORY OF A MURDERERDirector Tom Tykwer and DoP Frank Griebe discuss how theytranslated scent to the screen with images

8HOGFATHERDoP Gavin Finney BSC reflects on his experiences shootingwith the ARRIFLEX D-20

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

14FIRST ULTRA 16 PRODUCTIONSUser feedback on the first pre-series Ultra 16 lenses

16TRADING POSTDoP Daniel Gottschalk talks about putting crimedrama Trade through the DI process atARRI Film & TV

18PERFUME –HEARING AND SEEING SCENTSDirector Tom Tykwer and DoP Frank Griebediscuss carrying out post-production atARRI Film & TV

23SONY PAINTS THE TOWNDoP Daniel Landin captures seventy thousandlitres of exploding paint on film

26SUNSHINEDoP Alwin Kuchler BSC explains how he shotDirector Danny Boyle’s sci-fi thriller Sunshine

30ARRI & THE DIGITAL CINEMAARRI’s workflow for the production of digitalcinema masters

32A TALE OF TWO CITIESA look at the location vehicles of ARRI CSC andIllumination Dynamics

34HOW THE EXIT MAN LEARNEDTO WALKARRI Film & TV re-create a famous German iconfrom the seventies

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

38MOMENTS IN TIMEDark Passage and the Hollywood debut of theARRIFLEX 35

41DID YOU KNOW?

42 CINEMATOGRAPHER STYLE SCREENSAT THE ACADEMY OF MOTIONPICTURES ARTS & SCIENCES

42TAKE 10

43NEWS FROM AROUND THE WORLD

51PRODUCT UPDATE

54PRODUCTION UPDATE

16

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

The main character, Jean-Baptiste Genouille, isendowed with an incredible olfactory sense and usesit to create the world’s finest perfumes. He becomesobsessed with capturing the ultimate scent, the humanscent and will go to any lengths to obtain it.

The movie was shot during the summer months of2005, mostly in Spain, with Barcelona, Girona andFigueras posing as the perfume city of Grasse andeighteenth century Paris. During the first fifteen daysof the shoot the team filmed the encounter ofJean-Baptiste Grenouille and the Perfumer, Baldini inthe Bavaria Studios in Munich. During that encounter,Grenouille learns everything about the art ofconserving scents from his master.

ARRI Rental Germany supplied the camera, light andstage equipment for the entire shoot. The film wasshot on ARRICAM Studio, Lite, ARRIFLEX 435 and235 cameras with 3-perforation movements.

The adaptation of Patrick Süskind’s world bestseller Perfume – The Story of aMurderer has been expected in theatres with great anticipation. How will scent,which the book captured so sensually with words, be translated to the screen withimages? The equipment for the shoot was supplied by ARRI Rental Germany.Including the key ‘essence’ the new Master Zoom.

4

PERFUMEThe new Master Zoom makes its debut.

THE STORY OF A MURDERER

5

VISIONARRI

Director of Photography Frank Griebe (Heaven,Naked, Run Lola Run, Winter Sleepers) shot all ofTom Tykwer’s past projects. For the first time, he wasable to work with the new Master Zoom 16.5 – 110.This high-performance T2.6 zoom was speciallydeveloped by Zeiss exclusively for ARRI. The MasterZoom is not only the ideal addition to the ARRI ZeissMaster Primes, but also offers an exceptional opticalimage quality and sets new standards with regards tosharpness, lack of distortion and colour reproduction.

Director Tom Tykwer commented: “I love the MasterZoom. It feels like you’re working with fixed focallengths and you are incredibly flexible. Especially,on such a demanding shoot, it was often the casethat I just let the camera roll and tried out differentthings during a take. Often we were quiteexperimental in the way we handled the cameraand the lenses. There was flexibility in the handlingand later in the brilliant images and the lack ofdistortion was fantastic. It really is a great lens.”

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

He continues: “There were other reasons why weused the Master Zoom. One was, we wanted the filmto have a certain focus. The focus fall-off, comparedto other lenses, is much more pronounced, whichmeans, the focus doesn’t become so soft in the backand the Master Zoom seems more sharp in the plane.The focus impression is much, much greater than withother lenses. That’s another reason why we decidedto use the Master Zoom. Finally, the zoom’s speed isgreat, even though there were hardly any situations inwhich I was pressed to shoot open and especiallybecause it is a very dynamic film and because itmoves a lot, I made sure that it wouldn’t become anightmare for the Focus Puller.”

The technical development of the zoom ensures thatthe image geometry is free of distortion and thatnothing changes during focusing. Griebe’s impressionwas: “Incredible. It really keeps its promise. There is,of course, always a difference in contrast to fixed focallengths, but that’s normal. However it is really closeand unquestionably far superior to old zooms.”�

�DIRECTOR TOM TYKWER instructs actor Dustin Hoffman, whoplays Baldini

�DIRECTOR TOM TYKWER and DoP Frank Griebe (left to right)

�FILMING in the French Massif Central

�

“I LOVE THEMASTER ZOOM.IT FEELS LIKEYOU’RE WORKINGWITH FIXED FOCALLENGTHS AND YOUARE INCREDIBLYFLEXIBLE.”

�

PERFUME – THE STORY OF A MURDERER

6

“I DON’T JUST GET QUALITYEQUIPMENT FROM ARRI.WHAT I FIND MOSTIMPORTANT IS THE SERVICE.”

The Master Zoom has fantastic colour reproduction,but that wasn’t so important for the DoP. “I can’t saymuch about that, because the film is not verycolourful. And so chromatic aberration wasn’t anissue for us,” says Griebe.

How is the handling of the new zoom? The DoPreported: “The Optimo is already a huge lens.And the Master Zoom is obviously very hefty. But,lenses have a certain size and so that’s one of thecompromises you have to make. But it is worth it.The image quality speaks for itself.” He added:“In general I like to work with zooms, because I’verealized by now, that I save time that way and timeoften becomes a big problem during the making of afilm and even on a large production such as this one,we were under extreme time pressure.”

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

Frank Griebe: “There is one big scene in the film,which we shot with five cameras. We had twenty-onepeople in the camera department. Never before haveI had such a large camera team. My long timeAssistant Christian Almesberger took over the“B”camera. He knows Tom very well and has workedwith him for a long time now too. We also hadAssistants from Spain.” He continues: “It’s the scenein which Grenouille is supposed to be executed. Hescatters the perfume and suddenly everyone begins tofall into each others arms, undress and make love.In the novel there are thousands of people, we hadseven hundred and fifty. The shot was reallydemanding on everyone. It was very hot, andeveryone had to slowly undress, then, kiss and hug.It took several days to get all the shots. Essentially, itwas like a concert or a large event. We filmed it withfive cameras from several perspectives, like a liveevent. We had everything choreographed, but keptlooking for new positions and then rehearsedeverything again. For the camera departmentthat worked very well, but for the extras it wasvery taxing.”

� DOP FRANK GRIEBEwith the Master Zoom

and First CameraAssistant Christian

Almesberger (left of DoP)

� ON THE SETof Perfume

VISIONARRI

7

The camera team was confronted with manychallenges, which required a lot of imagination.Frank Griebe talked about the teamwork with ARRI.“I don’t just get quality equipment from ARRI. What Ifind most important is the service, meaning thepeople, whom I can discuss my ideas with. It doesn’tmatter if it’s the lab or the digital department orrental. The people at ARRI always listen carefully, andreply ‘Yes, that’s a great idea, we can do that’. Forexample: I wanted a camera that only shoots thenose in motion. Manfred Jahn, the Technical Directorof ARRI Rental, organized a special helmet forskydivers and rebuilt it, putting an ARRIFLEX 235 onone side, installing a mirror on the flexible joint,

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

Frank Griebe concludes: “Now I am curious aboutthat lightweight zoom, that we weren’t able to use yet.One notices that films use different ways of telling astory these days, i.e. a lot is being shot handheld. It isimportant, that one responds to these developments,and, for example, to offer a lighter camera like theARRIFLEX 235, or a shorter zoom. ARRI is very closeto the filmmaker’s needs and I think that is great.” �

Andrea Rosenwirth

8

Produced by The Mob Film Co. for Sky TV, Hogfather is the firstever live-action adaptation of a novel from Terry Pratchett’shugely successful Discworld series, the thirty-four volumes ofwhich have together sold tens of millions of copies worldwide.Due for broadcast in the UK over Christmas 2006 in two feature-length parts, the project will be distributed internationally by USmini-series giant RHI Entertainment, who put up some of thefinance and will also release a theatrical version in certainterritories. It is a bold undertaking for Sky, a company thattends to focus on the acquisition of provenly successful UStelevision programmes, and with a multi-million pound budget,in fact represents its biggest ever drama commission.

HOGFATHER

ARRIFLEX D-20SHOOTS MAJORCHRISTMAS SPECIALFOR SKY TV

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VISIONARRI

Producers Ian Sharples and Rod Brown, together with DirectorVadim Jean, brought Director of Photography Gavin Finney BSCon board early in development. The planning stage was along one, during which the intended shooting location shiftedfrom Romania to London and the choice of format was alsoamended. “The point at which we were first discussingbudgets and formats with Sky was a long time before the D-20was available,” recalls Ian Sharples, “so we used 35mm as abench mark and said to Sky that we’d budget for andanticipate shooting on 35mm because of the amount of CGinvolved, but should the technology catch up with us by thetime we were ready to shoot then we’d consider movingto HD.”

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

By the time Hogfather was ramping up to prep, the D-20 wasbecoming available and tests were undertaken at ARRI Mediain London to evaluate the workflow, right through to gradingon a Quantel iQ. Finney was impressed with the results.“The main thing was the blue and greenscreen tests we did,when we decided on our settings - recording on HDCAM SRin Standard Quality using 4:4:4 colour space - and the VFXpeople said the keys came off perfectly, without any problem.If they had said it’s not good enough, we would have beenback on film.” The DI grade would be carried out at One Postand Soho Images, with a clear route through post-productionestablished well before the shoot.

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

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

�DoP GAVIN FINNEY BSC

HOGFATHER

10

As successful as the tests had been, Hogfatherwould be the first major outing for the D-20, a factthat Finney admits would have concerned him hadhe not such established faith in ARRI. “That said, itwas always done on the understanding that it was,not so much a work in progress, but that theremight be things that change and get better. And theonly way of finding that out is shooting for nineweeks, six days a week, two or three camera units,twelve hours a day. Once we made the decision toshoot in London, knowing that ARRI Media wasonly a phone call away, I was less concerned.”Director Vadim Jean was entirely behind thedecision, as was Ian Sharples: “We understood thatwe were the first production to use the D-20 inanger and I think we had the right approach,because everyone had been involved in thatdecision from the start.”

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

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

In general, the camera was treated on set verymuch as a 35mm camera. Finney utilised the CookeS4 lenses he had selected for the shoot in preciselythe same way as he would on a film camera.“Another advantage of the D-20 is that theOperator is looking through the lens and can checksharps. He can see if the image is sharp in exactlythe same way as an Operator would on film, soyou’re not relying on someone spotting it on amonitor, plus you have no back-focus problems,which is an enormous asset. Three-chip cameras goout of collimation and there’s no warning light;someone has to spot, on the big monitor, that it hasfloated out of focus. And then you have to go foranother take, having re-collimated it, which is anabsolute pain and a real time-waster.”

When the production started, the camera had threeASA rating options, 50, 100 and 200. During thecourse of the shoot a faster rating of 320ASA wasadded, which Finney duly took advantage of.

�ACTOR MARK WARREN as TeaTime

�ACTRESS MICHELLE DOCKERY as Susan

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

�

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VISIONARRI

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

The DoP was also pleased with the dynamic range of thecamera. “The D-20 definitely has more highlight retrieval thanmost video cameras. I was easily able to go four and a halfstops over-exposed on, for instance, in-shot lanterns, withoutany clipping.” In addition, while grading certain shots at thepost-house, he found there to be more detail in the shadowsthan he had realised was being captured at the time. On set heappreciated the simplicity of the menus on the camera andaside from some colour temperature tweaks and occasional useof the 75% saturation setting, focused his energies on capturingas much data as possible: “When you’re going to grade on asystem such as the Quantel iQ, where you have a full range ofcolour correction, there’s no reason to do it in camera. Youtreat it like film; you treat it as a capture medium.”

The action of the story takes place over the course of a singlenight, ‘Hogswatchnight’, which in Discworld is the equivalentof Christmas Eve. Not only that, but in Discworld there is noelectricity, so practically the entire production was a night-timepiece lit with candles, oil lamps and moonlight. “It was alwaysgoing to be very challenging for Gavin,” says Sharples, “andhe rose to the challenge. The quality of what he has producedis fantastic and as a production we’re very happy with the

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

“We had a very good crew,” says Finney. “Our First ACs –Iain Struthers on the first unit and Mark Barrs on the secondunit, learned a lot very quickly and became really good atrunning and maintaining the new technology. Also AliceHobden, the Second AC, picked things up quickly and wasvery fast in setting up and changing cameras over. You needgood crew like that.” Speed of operation was an absolutenecessity as the production had only four and a half weeks tocomplete each feature-length episode, a feat that would neverhave been achieved without an efficient crew and thephenomenally detailed pre-planning of Director Vadim Jean.

Communication between Finney’s crew and ARRI Media was ofvital importance, especially as the D-20 was a system new toall involved and there were technical challenges to overcome.“The level of support was exemplary,” he states. “We gave alot of feedback in the early days about things we thought couldbe improved, like how the menu was laid out, and two weekslater the engineers came back and they’d re-written the menus,from our input. That was very good to see, that our feedbackwas being taken on board and actually acted upon.” �

Mark Hope-Jones

12

FIRST

PRODUCTIONS

Viewfinder“The viewing system on the the 416 is intense! All thecameraman I have worked with that have used the 416 fell inlove with it, since it makes their job so much easier. The momentthey put their eyes on the viewfinder it blows them away howbright it is!”Camera Assistant Jay Feather

“The image in the viewfinder is very bright and has a lot ofcontrast, it is really a class above other 16mm cameras. Especiallyduring our night shoots I had for the first time on a 16mmcamera the feeling that I could see as well as the film does.”Cinematographer Christoph Chassée

Weight and Ergonomics“The 416 is spectacular! The SR 3 was a great camera, but lotsof people go to 16 if they want hand held, and the SR 3 wasalways a bit awkward on the shoulder. The 416 in contrast isunbelievably comfortable, and so much lighter. I don’t evenknow how that is possible, but it makes hand held much easier.”Camera Assistant Jay Feather

“The weight of the camera is amazing. I thought it was verylightweight for hand held. I usually leave everything on thecamera, the full six-by matte box and everything, and I wasreally happy with how light it was.”Cinematographer August Jakobsson

“The handling on the shoulder is sensational. And we madeuse of that a lot in Tango, Tango; there are a lot of hand heldshots. The camera is very easy to use, so we could work veryfast and comfortably.”Cinematographer Christoph Chassée

“The 416 is lighter and thus easier to transport. Oh, and wereally love the new camera handle! It is properly balanced,has many attachment points and I can grip it securely. Thismakes a big difference.”Camera Assistant Armin Golisano

“I agree. That seems like such a small detail, but if you cannotgrip a camera securely by the handle, and if you cannotattach anything to it, it slows everything down. The 416handle is great.”Cinematographer Peter von Haller

Sound“It is so quiet that we sometimes did not know if it was runningor not. A really quiet camera is great, as it saves time that wewould have spent in the past dealing with sound issues. Oursoundman said: “I cannot hear this camera at all, even whenthe microphone was pointed directly at the camera.”Camera Assistant Alannah Sennheiser

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

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

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

VISIONARRI

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RGB ARRIGLOW“It really did help! I had some shots against a green screen,and then against a blue background and then a blackbackground and a white background, and on some theARRIGLOW colour just blended in, so we changed it. I neverthought I would have needed an ARRIGLOW that can changeits colour, but there we were, and it really helped!”Cinematographer Will Rexer

“The multi-colour ARRIGLOW option helped us just yesterday.We were shooting against black, and the DP said he could notsee the glow very well, so I switched to glow setting 8. I said“try this”, and he liked it.”Camera Assistant Jay Feather

“Oh, yeah, the RGB ARRIGLOW is very cool! You can changecolours! That was great at night, but I also used it for a greenscreen scene, and played with the colours to find the one Icould see the best.”Cinematographer August Jakobsson

Magazines“Changing mags is quick, no-one is waiting around for youand once the loaders got used to the different method forloading the mags, they were super fast.”Camera Assistant Jay Feather

“Magazine loading is very simple. I looked at it once, tried itand it worked OK for me.”Camera Assistant Alannah Sennheiser

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

�PETER VON HALLER (left)together with Armin Golisano

�AUGUST JACOBSSON (right)together with Jacob Barrie

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Like the Master Primes, the Ultra 16lenses combine high speed withoutstanding optical performance. With awidest stop of T1.3 they allow shootingin low or available light, so are easy onthe lighting budget, create more naturallooking images and provide thecinematic look including, wherenecessary, a shallow depth of field.Equalled by no other Super 16 lens inoptical performance, they join the other

ARRI/Zeiss lenses in elevating the Super16 image to its highest possible quality.

Together with the first pre-series ARRIFLEX416 cameras, the first pre-series Ultra16 lenses have hit the set to verypositive acclaim. Here is a small sampleof opinions from the field. The fullinterviews with more photos can befound in the ARRI Email Newsletter 18 atwww.arri.de/entry/newsletter.htm

“In telecine I can see when people areusing older lenses, the image lookssofter and muddier and I can see colourfringes on some of the older wide anglelenses. In 16 this is very crucial: youwant to have the sharpest image tobegin with. Sometimes it is sad to seeall the effort that goes into the set andthe acting and art department and soon, only to produce a muddy imagebecause someone was too cheap tospring for a modern lens, or to see animage with a bad exposure. If youexpose properly, use modern film stocksand modern lenses, Super 16 canlook fantastic!”Senior Colourist Bertl Grabmayr

“We used the Ultra 16 lenses a lot andwe are completely and exceedinglyenthusiastic about them!”Cinematographer Christoph Chasséeon the set of Tango, Tango

FIRSTFIRST

PRODUCTIONSPRODUCTIONSEspecially in Super 16, the choice of lens is crucial for theresulting image quality. For this reason many cinematographersare now using modern 35 format lenses on 16 mm cameras,since many 16 mm lenses are of an older design. To cover thewide end in 16 mm, a new generation of 16 format lenses hasbeen designed by ARRI and Zeiss, the Ultra 16 lenses.

15

VISIONARRI

Main FeaturesFive Modern Wide Angle, Close FocusSuper 16 Primes

6, 8, 9.5, 12 & 14mm

High Speed-T1.3

for complete control over depth of field

for shooting in low or available light

for natural looking images

for fast paced production environments

for tight lighting budgets

Highest Optical Performance in its Class

high contrast and resolution

T* XP coating ensures flare resistance

image geometry free of distortions

minimized chromatic aberration

Smooth & Robust Mechanics

Matches Other ARRI/Zeiss Lenses

extending the focal range of Ultra Primes andMaster Primes in the wide end for Super 16

same size & ergonomics as Ultra Primes

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

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

“The Ultra 16 lenses are head and shoulders above the older lenses. Justlooking at ease of use, ergonomics, their size, the type of markings. If yousimply look through them they are tack sharp, you can tell just by lookingthrough the viewfinder. They look just as sharp as the Master Primes do on35 cameras.”Cinematographer Matt Siegel, here setting up a wide angle shot in themountains of the Olympic Peninsula

“The Ultra 16 lenses are gorgeous. We did some wide shots in the Rain Forest,looking straight up into the Cedar trees, and those were phenomenal. I lovethe 416 camera for all the improvements that help me during shooting, but Ithink for the image quality the Ultra 16 lenses are a tremendous leap forward.For 16, the film stock and the lenses you use are very important factors for theimage quality you will get. We shot all the Words on the Wind footage withthe new Vision2 Kodak stocks and with the best lenses we could get a hold of:Ultra 16, Master Primes and Ultra Primes. This will give us the best resolutionpossible. I think if people really understood the part a lens has in the finalimage quality, they would not use older lenses anymore and choose theirlenses more carefully, which is especially important in 16.”Cinematographer Chris Hart, here looking straight up into the Cedartrees through an Ultra 16 lens

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

16

Crime Drama Trade posts at ARRI Film & TV

Directed by Marco Kreuzpaintner (SummerStorm, Ganz und Gar), Trade is a high profileinternational project posted entirely at ARRIFilm & TV in Munich. Produced by RolandEmmerich and Rosilyn Heller, productioncompany Claussen+Wöbke+Putz was aco-producer responsible for the post-production.Trade is planned for release in German cinemasin 2007 by Twentieth Century Fox.

Trade is based on a New York Timesarticle by Peter Landsman about themodern day slave trade. RolandEmmerich's company Centropolis boughtthe rights to the story. Roland Emmerichhad initially intended to direct the filmabout this highly explosive subjecthimself, but passed the baton toDirector Marco Kreuzpaintner, afterKreuzpaintner’s film Summer Storm wasbrought to his attention.

Trade focuses on the desperate plight ofthe families whose loved ones havebecome victims of the increasing trade ofsex trafficking. Ray (Kevin Kline), apolice officer whose daughter has fallenvictim to this crime, meets Mexican boyJorge (Cesar Ramos) during hisinvestigations. They forge a special bondand Ray assists the boy in hunting for hissister who is missing, presumedkidnapped. “Two and a half years agothe article confronted Americans with theshocking fact, that each year 50,000girls, boys, and young women aresmuggled into the US, to be sold as sexslaves. The victims come from Centraland South American countries,particularly from Mexico, but also fromEastern Europe and are smuggled intothe US via Mexico. Sometimes, they areauctioned on the internet. Even today,there are no laws in the Unites Statesmaking the sex trade a punishableoffense. These cases are simplyconsidered illegal entries into the US.

The girls, boys and young women aresent back to their countries followingregular deportation procedures withoutreceiving protection from theirperpetrators, who, of course, attempt tosmuggle them across the border again,”says Kreuzpaintner. The film was shot inMexico and the US. The entire postproduction was completed at ARRI Film& TV in Munich. The film was worked onas a 2K Digital Intermediate and thevisual effects and titles (title design: LutzLemke) were also produced andintegrated into the DI at ARRI.

“From the beginning, we wanted anauthentic look, but wanted to show thedifference between Mexico and the US.Mexico has very crisp colours and highcontrasts. The US on the other hand,has a lot less colour,” explains DoPDaniel Gottschalk.

“Trade was a very complex project thathad to be shot in different landscapesand in various lighting moods on manydifferent locations. Using the DI processin post production was very helpful ingiving this project a consistent look.Despite the additional cost, we neverregretted the decision, not even for amoment. We were much more flexible,we were able to quickly check resultsthroughout the process and we wereable to quickly communicate them toour partners, which allowed us to obtainthe required results, faster. We were

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

ARRI Colourist Rainer Schmidt executedthe grading primarily in the new LustreRGB Suite with the large, theatre sizescreen at ARRI. Only a few sequences ofthe film were graded afterwards on theLustre Master Suite.

“The goal was to create a look that wasgenerated digitally, but closely followedthe classical work process. That’s whywe used the Lustre plug-in for the bleachbypass process and tried to correct thefilm in the primary version and avoidedusing the secondary grading. The basicidea was to combine the traditional withthe modern,” explains Gottschalk. “Firstwe thought we would do everythinganalog in the lab, but then we changedour minds,” continues the DoP, who isfamiliar with working on the Lustresystem from his work in commercials.That’s why he worked without filtersduring the shoot, “to deliver a negativeas clean as possible with all theinformation to be processed in the DI.”A lot was shot handheld. “That’s whythings weren’t always perfect and hadto be corrected in post. Like I said,authenticity was what we went for, andthat’s why we wanted to use the DI ina subtle way, as a tool, but didn’t wantto let it become an end in itself,”he continues.

TRADING

17

VISIONARRI

“I wanted to complete post production atARRI in Munich, because I know thepeople there really well. I can discusseverything with Sepp Reidinger and theteam at ARRI. I know that everythingthere will be done as intended by Danieland myself. The people at ARRI Munichknow me. I more or less grew up withthem,” says Kreuzpaintner.

The Director and the DoP agree: once DI– always DI. And they quote RolandEmmerich, who has decided to neveragain make a film without DI. “I can stillhear Roland: “Never again without DI” –which makes even more sense in thecase of his films which are so digitaleffects heavy. In any case, my nextproject Krabat will be a DI film as well.I’m making it with Daniel and we’ll postit, like all my projects, at ARRI,”explains Kreuzpaintner.

Speaking of digital effects, all of thevisual effects and animations for Tradewere made at ARRI Digital Film inMunich. “There is, for example, a sceneat the airport in Mexico City. But wewere not allowed to shoot there and hadto dress a convention centre close to theairport to serve as the location. But inthe background, we were supposed tosee a plane take off, which we insertedlater as a 3D object. The same had tobe done in another scene, in which thelead actress sits in the plane as anotherplane cuts across it. All the VFXsequences were inserted digitally into the

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

Kreuzpaintner continues to say that, inlight of the increasing popularity of digitalcinema, the DI is indispensable. “Actually,I used to be an opponent of digitalrelease strategies, which will be verycommon in the near future. But now, Ihave to say, I think every filmmakershould be happy about digital cinema,because it ensures that films are projectedin their best possible version – just likethey are now in the Lustre Suite at ARRI.”

Gottschalk continues: “The projection isby now pretty good and continues to getbetter. And the projection which ARRI hasin the Lustre is fantastic. This is a greatadvantage for the DoP, who can assumethat all the copies of the print are goingto look the same. We know that there aregreat qualitative fluctuations making massduplications in the lab, that will no longerbe an issue. The light intensive projectorthough, like the one in the Lustre at ARRI,has to be re-calibrated every two or threedays and I am not sure how diligent themovie theatres will be about this, andwithout that happening, there may bequality issues.”

The complex sound recording wascompleted on “Stage One“ by RecordingSupervisor, Martin Steyer, who has,previously, mixed the features The WhiteMassai and Snowland at ARRI Sound.He insists that “Stage One“ is hisfavorite sound recording stage. To him

the teamwork with the two Mexicanmusicians, who wrote the music forTrade and who were in the studio duringthe mix, was particularly interesting.“At first we worked with layouts andonly towards the end and on shortnotice, did we get the actual music.Only during the main mixing session didwe work out where and how we wouldweave in the music. To be as flexible aspossible, the music was recorded inmany different versions and we had upto seven 5.1 channel music stems withindividual instruments. That allowed us totake out or highlight various instrumentsand to change the volume, because thesettings of the music couldn’t be adjustedduring prep, due to the time pressure.“

Jakob Claussen adds: “The mix in thelarge ARRI studio was a dream cometrue. Technically and in terms of staff,no wish remained unfulfilled.”

In conclusion, the Producers commented,“The teamwork with the staff at ARRI wasoutstanding. We were under tremendoustime pressure because of the complexproduction structures, and involveddecision making processes but we were,despite all the complexities involved inthe production, treated professionallyand with courtesy, and we are verygrateful for that.” �

Jochen Hähnel

POST�ON SET

�ALICJA BACHLEDA on set

�DoP DANIEL GOTTSCHALK

�DoP DANIEL GOTTSCHALK

�IN THE FRONT LINERosilyn Heller, DirectorMarco Kreuzpaintner andDoP Daniel Gottschalk(from left to right)

18

VisionARRI spoke to Director Tom Tykwerand DoP Frank Griebe, as well as toother key players of this production.Among other things, they talked aboutthe shoot, the experience gradingdigitally, about the creative transferenceof scent to film and about postproduction at ARRI Film & TV.

During the shoot the negative was sentdaily to the ARRI lab in Munich, to beprocessed and to be scanned ontoDigital Betacam. After the initial Avid cut(Cutter: Alex Berner), the complex DigitalIntermediate process was also completedat ARRI Film & TV. The two Colourists,Florian “Utsi” Martin and TraudlNicholson (who had been in charge ofthe on-set colour timing of the videosamples) were responsible for thegrading on the Lustre Master Station.

One of the greatest creative challengeswas, without a doubt, the creativeimplementation of scents, smells andodours on film. “That, of course, wasone of the key issues. I wanted to makethe film as subjective as possible aboutthe perception of the main character,Jean-Baptiste Grenouille. I wanted to tellthe story not through the eyes, butthrough the nose of this young man.We wanted to find a new way tocapture this with the camera, so wewould never have to visualize scents withthe help of CGI (computer graphicimages) or digital effects. That’s why wewanted a sort of rhythmic composition,consisting of camera moves and cuts aswell as the interplay with music,”explainsTom Tykwer.

“The musical element plays an importantpart in Perfume, because the entirevocabulary of the world of perfumemaking is taken from the study of music.One speaks of a ‘note’ of a scent, of‘chords’, and of the ‘composition’ of ascent and so forth – all these terms arefrom the field of music,” continues theDirector, who has also composed thescore for the film. “At the same time, it isof course obvious, that there are momentswhere we had to rely heavily on colourfor dramatic purposes and in such a way,that the audience can clearly follow thedramatic use of the colours.”

“We basically approached this the sameway Patrick Süskind did in the novel.He used the clear and precise power oflanguage and we used the power ofimages, sounds and music,” ProducerBernd Eichinger says.

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

PERFU

VISIONARRI

19

“We decided, very consciously, not tocreate a new look for scents etc., or toconvert scents into colours, but insteadwe wanted to create a world, that seemsrealistic without exaggerating. At thesame time, the film takes up the subjectof the eighteenth century and is supposedto show the grubbiness and dirtiness ofthat time,” says DoP Frank Griebe.

The Colourists, Traudl Nicholson andFlorian “Utsi” Martin, who worked onthe film in ARRI’s Lustre Grading Suite,using the Digital Intermediate process,report: “The main issue, during thecolour grading continued to be how wecould make the scenes in Paris look asdirty as possible and how we couldvisualize the stench, that must havepermeated Paris at that time. Weworked, in this case, with de-saturation,but it was difficult to find an intermediatelevel, that would look realistic and at thesame time be accessible to the audience.”

Towards the end, in Grasse, the sunnyperfume capital of southern France, thefilm becomes warmer and morepleasant. “To convey the Mediterraneancharm, with the sun, gorgeous blossomsand scents of the lavender fields, wereally dug in during the DI andenhanced the colours, so they’d glowvividly but naturally,” they continued.On the other hand, even here thedarkness, in which the main character,the murderer, lives the life of a shadowfigure, was implemented masterfully.

Director Tom Tykwer, DoP Frank Griebeand Set Designer Uli Hanisch as well asthe French Costume Designer Pierre-YvesGayraud prepared the scenesmeticulously, even though it had beendetermined from the start that the filmwould be entirely digitally graded as aDI. “The basic idea and mood of a filmare generally decided upon in thelighting and the set design. The mainissue was how we would deal with

specific colours. After all, not everythingcan be accomplished in post and onehas to ‘plant’ the pictures that one wantsto perfect during the DI. It’s all aboutoptimizing an established route,” explainthe Director and the DoP.

“It’s of course possible to go acompletely different direction. There is ascene in the film where we turned dayinto night during the DI, because itconnected better, even though it was litdifferently. That’s possible. For the visualhomogeneity, the correct mood of a film,the DI is a unique tool,” raves TomTykwer, who, with Perfume, has for thefirst time completed colour grading onthe large screen in the Lustre GradingSuite. “The best technology alone is notsufficient enough, a lot depends on theOperator, and with Traudl Nicholsonand Florian “Utsi” Martin we had theright guys – an absolutely ideal team,”Tom Tykwer and Frank Griebe agree.�

MEDirector Tom Tyker and DoP Frank Griebediscuss the DI on the feature film.

HEARING & SEEING SCENTS

�ACTRESS Rachel Hurd-Wood as Laura

�JEAN-BAPTISTE GRENOUILLE (Ben Whishaw) in the French Massif Central

�JEAN-BAPTISTE GRENOUILLE’S first murder

PERFUME – HEARING & SEEING SCENTS

20

“THE MOST BEAUTIFULMOMENT WAS RIGHTAFTER A TESTSCREENING IN THEARRI THEATRE WHENBERND EICHINGERTOLD US THAT THEFILM HAD TURNED OUTEXACTLY THE WAY HEHAD IMAGINED IT.”

“It was very practical and pleasant tohave Utsi, who had extensiveknowledge of the mood of the film aswell as of our needs, in terms of howwe wanted to create this mood. He wasable to, without preconceived notions,bring the film into its own. It really wasa fantastic co-operation. Traudl wasfrom the very beginning very muchfamiliar with the material and had adeep insight into the developments of itsoriginal conception, which left her, like allof us, a little biased,” says Tom Tykwerand continues: “The work in ARRI’sLustre suite was always a bit like a visitto a ‘charmed island’. The amazingeffect that one can watch one’s picturesin spectacular quality and can stilldo almost everything to them, wascompletely new to me. It is an incrediblygood, and for the creative processes arather revolutionary, system.”

Obviously it was necessary to interveneoccasionally, for example, the red haircolour of both of the lead actors wassupposed to shine brightly at all times.It was very complex, because we had topull up a mask for the hair. We also hadto build the flicker of candle light intotwenty set-ups with lanterns, because inreality there were light bulbs in theselanterns,” the two Colourists report. Thetwo Colourists divided the grading workat ARRI between themselves, eachworking one of two daily shifts.

“It was clear to us; the two Colouristsare a perfect team. First of all, becauseTraudl Nicholson has known Tom Tykwerand Frank Griebe very well for manyyears and has worked with them onseveral films. Secondly, because withUtsi Martin we had one of the mostexperienced Lustre Colour Graders onboard. That has really helped us a loton this difficult project, not only becausewe had to make a lot of onlines in avery short amount of time,” says PostProduction Producer Dominik Timborn,who supervised and co-ordinated theproject for ARRI Digital Film but wasalso the responsible DI Supervisoron Perfume.

Another unique aspect of the colourgrading on Perfume is that DoP FrankGriebe pre-determined the look with thehelp of digital photos. “I took digitalphotos, during the shoot, and simplyworked on them on the computer inPhotoshop. These pictures were then sentto Traudl Nicholson in Munich, whofinished the rushes accordingly. Thatway, we always had a great sample. Inclose co-ordination and communicationwith Traudl, we started to feel our waytowards the final look of the filmthroughout the shoot,” explains FrankGriebe. That’s why, in this case, therewas no colour guide, as is otherwisecommon. “Again, I do want toemphasize at this point, that it is nolonger necessary for the DoP to bepresent during the entire DI colour

grading. We accomplished a lot withthe ARRI team and then later on the spotwith the DoP and the Director, whichworked very well,” he continues.

As we have mentioned before, there isno digital enhancement of the scents inthe colours. “Except for one verybeautiful scene, with the first victim, ayoung girl. There, Jean-BaptisteGrenouille, played by Ben Whishaw,begins to smell, we follow him, weaccompany him and we do see thescent he follows. Visually, we haveaccomplished that with cuts andmontage sequences in which we seedetails of her,” says Frank Griebe.“Later, which I already knew duringprep, he kills her almost by accident.She screams, he covers her mouth andshe suffocates as a result. Then she liesthere and he begins to smell her, moreor less devouring her with his nose. Hebegins to undress her and smells herentire body. This meant that colourgrading really had to get into it,because the colour of her body changesslowly in the grading. Which means herinitially warm skin tone becomes moreand more pale and grey. I knew on theset already that I could accomplish thatin the digital colour grading and thatreally went very well,” he continues toexplain. ”We made a rather crasscolour intervention here: the girl turnscompletely pale, almost pale blue, andvery quickly looks very dead,” addsColourist Utsi Martin.

21

VISIONARRI

Otherwise, in Perfume scent manifestsitself more through the music. That’s whyit was very important to Tom Tykwer tobe able to hear the score on the set, inorder to follow its rhythm and itsemotional lead during filming.Tom Tykwer, as mentioned earlier, hascomposed the score to Perfume himself,“not out of necessity, as in the past,because back then I was unable toafford a Composer. But because Irealized that it was equally important tome to develop the musical element ofthis film as to develop all the otherelements, which to me are essential tofilmmaking, such as the visuals and thedialogue. Bringing together images andmusic is for me almost the greatestdelight in making a film. In retrospect, asa Composer, I also had the tremendousfortune to get to work with one of thebest orchestras in the world, the BerlinPhilharmonics with Simon Rattleconducting. Something really specialhappened there, to be able to run yourown music through such an orchestrahas something of that phenomenaltransformational effect you get when youare running your images through theLustre. They are again being infused bya certain quality, depth and complexity

that one never expected before.That was a great experience for me,”he continues.

Frank Griebe remembers a fewsequences, in which actual perfume isbeing made, that illustrates this further.“Those are incredibly technical scenes.And to create a certain mood on the set,Tom just took a boom box, put on theCD with the layout music and we shot tothe music. That created a wonderfulmood. It’s a great way to work,because, almost automatically, one goesabout things with a much greater senseof rhythm and timing, for example, in thecase of a pan. You pull in and out. Thatmakes for a very musical cameramovement, and it is much easier toimagine what that scene will look like inthe finished film.”

Producer Bernd Eichinger was extremelyhappy with the result. “The mostbeautiful moment was right after a testscreening in the ARRI theatre whenBernd Eichinger told us that the film hadturned out exactly the way he hadimagined it,” report Tom Tykwer andFrank Griebe.

Much more about this costly shoot, theresearch for Perfume – The Story of aMurderer, and the Paris of that timeperiod can be learned from the DVDBox set, which contains an extensive“Making of” segment. The DVD’s -including all teasers and the movietrailer and so forth – were also made atARRI. The digitized and finished film wasrecorded out to film several times on fourARRILASERs, in one of the last steps inthe process. ARRI Munich also producedthe digital master (DCI) for digitalprojection in the increasingly populardigital cinemas. Perfume – The Story of aMurderer is a Constantin Film releaseand will be distributed in the US throughSteven Spielberg’s company,Dreamworks.

In light of his next film – a politicalthriller set mostly in Berlin, more, hesays, he can’t reveal at the moment –Director Tom Tykwer thinks back on hislongstanding relationship with ARRI andhis experiences with the company:“When I make a film it is an obviousrequirement that I make it with ARRI.That’s pretty much a rule that applies toevery one of my projects. It’s somethingthat developed and has a long tradition,because we have worked together for�

“WHEN I MAKE A FILM IT IS ANOBVIOUS REQUIREMENT THAT IMAKE IT WITH ARRI.“

�GRENOUILLE (Ben Whishaw)

�LAURA (Rachel Hurd-Wood) dancing around a fire

�PERFUMER BALDINI played by Dustin Hoffman

PERFUME – HEARING AND SEEING SCENTS

22

a long time – since 1997 and the film Winterschläfer,to be exact. A lot, of course, has to do with the fact thatFrank Griebe also likes to work with ARRI and prefers to shooton ARRI cameras. Over the years it has become pretty clearthat we are able to get the best package, creative energy andthe best know-how from ARRI,” the two continue to explain.“ARRI has always been on par with my gradually growingdemands on technology and equipment.”

“At ARRI we were always able to use state-of-the-arttechnology. There is a reason why ARRI has completelyentered the digital age and in a leading role at that. We haveoften discussed this with ARRI, which led to an exchange ofexperiences and ideas. ARRI has thereby given me insight intonew possibilities and Frank and I were able to articulate ourneeds and our interests. That has led to an extensive dialogue,which has lead to a deep and trusting collaboration withARRI and their staff. ARRI therefore, is almost like family to me.Frank and I, more or less, grew up as filmmakers with ARRI.From a creative perspective as well as because of thetechnological inventiveness, which I believe exists there,ARRI has sort of become a second home. And I will continueto stubbornly insist upon keeping it that way,” DirectorTom Tykwer concludes. �

Jochen Hähnel

“OVER THE YEARS ITHAS BECOME PRETTYCLEAR THAT WE AREABLE TO GET THE BESTPACKAGE, CREATIVEENERGY AND THEBEST KNOW-HOWFROM ARRI.”

23

VISIONARRI

Produced by production house Academy for advertisingagency Fallon, the commercial was directed by award-winningJonathan Glazer, who has been responsible for many popularads, including several memorable campaigns for bothGuinness and Stella Artois.

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

With only one chance to get each set-up the timing and courseof events had to be worked out with great detail. Everycamera was carefully placed to capture various perspectives ofeach explosion sequence, but decisions about camerapositions were made long before anyone arrived on site.“We worked in quite a detailed way when pre-visualizing thisshoot. Using a three-dimensional virtual replica of the locationwe worked out exactly where the most effective places for thecameras would be, we were able to use the computer tospeculate on the most dramatic angles to illustrate the paintexplosions, so the piece was choreographed to the musicaltrack before filming started,” recalls Landin, “Chris Oddy, the

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

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

As much natural light as possible was used for filming whichmeant waiting for sunny conditions, but Glasgow is not�

Following on from the success of the acclaimed Bouncing Ballscommercial, where hundreds of thousands of brightly colouredbouncing balls were actually tipped down a street inSan Francisco, Sony has stepped up its Colour Like No Othercampaign to promote its high-definition BRAVIA LCD TV rangewith a second commercial. The latest advert uses seventythousand litres of paint and features massive paint explosionsto illustrate the message that the colour you’ll see on a SonyBRAVIA LCD screen will be ‘like no other’.

SONY PAINTSTHE TOWN

24

renowned for good weather and when the sun didcome out it did not move round onto the requiredside of the vast multi-story structure until two in theafternoon. “Jon Glazer and I would spend themorning placing the cameras. We would visit allthe different camera positions and choose thelenses, working out what would add the greatestdrama to the effect,” explains Landin, “Then ourKey Grip, Caddy (David Cadwallader), would haveto build protective housing around the camerapositions that were vulnerable to the explosions,because not only was the paint detonated but thebarrels that held the paint would fly off when theexplosion happened.”

“Another problem we had, was that it was importantthat the lenses were not covered in paint before theshot was finished. Although the sequences werenever more than four to eight seconds long, whatone didn’t want to happen was that the lens waswiped out in the first second when there could be aninteresting piece of action in the fourth.”

As well as carefully positioned cameras Landin alsoutilized hand-held: “Jon didn’t want it to seem like itwas a shoot done in post-production. We were veryaware that it should feel like an event that hadhappened and been filmed. We wanted it to feellike the cameras were responding emotionally tothe situation. The fact that the cameras could move

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

Even though each explosion sequence was onlybetween four to eight seconds long it would take upto a day for the pyrotechnic team to rig – so therewas no possibility of a second take. This put anenormous amount of pressure on the Operatorswhen there were moving cameras involved, sorehearsals became key to ensuring a take wentsmoothly. “We established a kind of techniquewhere we would create an audio representation ofthe pyrotechnic sequence. If there were going to beten or twelve different explosions happening wetried to give them different sounds so the Operatorscould basically rehearse the moves they were goingto make. They would start off looking in onedirection and when they knew an event was goingto happen they would then pan quickly to the right,to the point it was about to happen, and tilt up. TheOperators needed to know that sequence and theyneeded to feel it before we let the pyrotechnics offbecause we couldn’t do it again.”

For the grand finale, coloured explosions travel allthe way up the twenty-two story tower block. Colourco-ordinated barrels of paint were attached to theoutside of the building, each level was thenexploded in quick succession to achieve a stunningrainbow effect. To get in close to the action one

SONY PAINTS THE TOWN

25

VISIONARRI

�(From top to bottom)AFTER A TAKE, GripStuart Godfrey and KeyGrip David Cadwallader.BACK FROM THEFRONT LINE, OperatorZac Nicholson.GRABBING A BREAK,Director Jonathan Glazerand DoP Daniel Landin

“WE WOULD VISITALL THE DIFFERENTCAMERA POSITIONSAND CHOOSE THELENSES, WORKINGOUT WHAT WOULDADD THE GREATESTDRAMA TOTHE EFFECT.”

camera was suspended fifteen feet outof a window on one of the upper floorsto film the explosions travelling up thehigh-rise. Another was suspended froma corner of the building and thenrotated one hundred and eighty degreesduring the take. This enabled thecamera to start off looking down at theexplosions, then flip round to continuefollowing them as they carried on risingupwards. In order to keep up with theextreme speed of the explosions, whichtook less than four seconds to reach thetop, the turn also had to be extremelyquick, so was executed by hand using aspecially built rig as a remote headwould not have been fast enough.

Afterwards all the paint had to becleared away. The use of a special non-toxic water-based paint, that was safeenough to drink and harmless to skin,made it easy to scrape-up once the waterhad evaporated - but it still took five daysand sixty people! �

To view the full Sony BRAVIA advert visitwww.bravia-advert.com

Michelle Smith

�(From top to bottom) SUSPENDED from a corner ofthe tower block. FIFTEEN FEET out from an upperfloor looking back at the building. CAPTURING theaction from a nearby rooftop

26

AN INTERVIEW WITH ALWIN KUCHLER BSC

Conventional wisdom has it that our sun, the star around which our solarsystem revolves, has enough hydrogen to burn for another five billion years.But what if conventional wisdom is wrong? What if a super-symmetric nucleuscould consume that star from within, like a cancer, and begin to extinguish thenuclear furnace at its centre a mere fifty years from today? This is the premisebehind a new film from Director Danny Boyle, Writer Alex Garland andProducer Andrew Macdonald, who have previously collaborated on The Beach(2000) and 28 Days Later (2002). Sunshine tells the story of a team ofastronauts who are sent on a mission to revive the sun with a colossal stellarbomb and thereby safeguard mankind. Several years into their journey andout of contact with Earth, the crew of eight men and women are beyond allhelp when events take a sinister turn.

�DISCUSSING A SHOTDoP Alwin Kuchler BSCand Director Danny Boyle

27

VISIONARRI

Sunshine was photographed by Alwin Kuchler BSCwith ARRICAM Studio, 765, 435 and 235 camerassupplied by ARRI Media, London.

VA: A great deal of the action of this filmtakes place on a spaceship. What was yourgeneral approach to lighting the interior ofthe ship?

AK: The first radical decision we made was to shootas much with practical lights as we could. There’s awhole new generation of cold cathode tube lightswhich are slimmer and more powerful than the oldones, and there are also a lot of new LED lights; thenew fittings are so much smaller and yet their outputis quite strong. We had something like a thousandpracticals, with up to four practical electriciansemployed for the whole time just to do the wiring.

We had Reuben Garrett as a Gaffer, and workedwith a specialist company called Light by Numbers,which is a really interesting company because they’vedevised a whole new system of operating dimmers.They have a separate channel for every singlepractical, which they can program in a very simpleand logical way. For example we had a corridor litby about one hundred fluorescent tubes and they allhad to be programmed to dim up and down assomeone walks past, which is quite complicated, butthis company were able to do it very easily andquickly. It was great because on a film of this scaleyou have a second unit who come back and do pick-ups of things like monitors and hands pushingbuttons, and on the lighting desk computer all theyhad to do was punch in the slate number and all thelights would go back to the exact settings that themain unit had used.

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

VA: What was your lighting approach forthe sun itself, and did it alter to reflectthe progress of the spaceship towardsits objective?

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

and if you spend a long time in that room and thensuddenly step out in the sun, it’s almost painfulbecause your eyes cannot react as fast as they arebeing hit by the light. We wanted to recreate this, sothe audience is exposed for long periods to darkenedscenes and when they come to see the sun it has,even in the cinema, a strong physical effect.

There was one scene that took place in theobservation room, where someone completelyoverexposes himself to the sun and the image isalmost totally burned out; there is just a little detail inthe highlights, the odd bit of human eye or the outlineof a nose. Theoretically, given what is possible in thegrade, I needn’t have gone as far as I did, but byactually using that much light and creating the effecton set rather than in a grading suite, it made abigger impact on the actors and allowed them toproduce a much more authentic performance. The sunis this massive, uncontrollable organic mass, and that’swhat we wanted to try to translate rather than alwaysrelying on CGI. The difficult thing is that, althoughthere are some fantastic images of the sun you candownload from NASA, no-one really knows what itlooks like in the detail, or what it would feel like.

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

VA: How was your working relationship withDanny Boyle?

AK: I really loved it. I think he’s a great Director for aCinematographer because he loves images thatdazzle and entertain people. He gets these ideas and

“WE WANTED THESUN TO ALWAYSFEEL AS PHYSICALTO THE AUDIENCEAS POSSIBLE.”

SUNSHINE

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

VA: He seems keen on physical, tactile and in-cameraeffects rather than CGI. Did this mean you had to do alot of testing before the shoot?

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

One thing Danny wanted to do was to play around with thepsychology of time, with how the characters were perceiving time.He had the idea of someone appearing maybe thirty feet awayand then in the blink of an eye appearing five feet away, andthen twenty feet away a moment later. We used special rigsconstructed by Andy Mossman at ARRI Media to achieve this. Ourgeneral philosophy was that we wanted to do as many thingsphysically and photographically as possible.

Danny developed something called the Earth Room, which was arealistic 360-degree rear projection in which characters on theship can get the sensation that they’re back on planet Earth. Weshot the footage for that on 65mm with the ARRI 765, which givesyou incredibly rich detail for shots of things like forests or watercrashing against a sea wall.

VA: On this film you chose Zeiss Ultra Primes & HawkAnamorphics. What was it about them that suitedthe project?

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

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

Most of the film was shot anamorphic, except for the sceneswhere we actually see the sun. For these we had a huge wall ofglitter curtain in front of which we hung golden discs of differentsizes and threw a lot of light at them. When we shot them withanamorphics each individual disc gave off horizontal flare and it

© 2005 TCFFC. All rights reserved.

29

VISIONARRI

�DoP ALWIN KUCHLER BSC

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

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

AK: Well, we had limited space; we had the classic scenario whereyou have to shoot sets which after post production need to look farbigger than they actually were, so we had very geometrical setswhich were designed to be scaled up afterwards with the help ofCGI. It was the lack of distortion in the Ultra Prime 8R that got usinterested. We did some tests on a studio floor; the designer wasthere already so we had parts of the sets on the floor and it wasreally impressive. It really did what it was supposed to do; there wasno distortion. It keeps all the lines in the frame really straight andtherefore creates the sense of a bigger space without giving awaythe fact that you’re using an extremely wide angle lens.

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

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

I try to shoot in the same way for a DI as I would for the traditionalroute. I think there’s a danger of relying too much on being able tofix things digitally because the more you apply digital technology,the more you create a digital look. One thing I think is very useful inDI is how you can put in windows and grade within the windows,for example making certain elements of the frame darker, because Inever feel that looks too obviously digital. With colours you have tobe careful; colours can very quickly take on a digital look. I alsothink it’s really important to grade on a big screen rather than amonitor because they have different effects on your judgement. �

For the latest news on Sunshine visit www.sunshinedna.com

Mark Hope-Jones

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ARRI has made a name for itself worldwide in thearea of the digital intermediate.The creation of the ARRILASER and the ARRISCAN has decisivelyinfluenced this process and ARRI is not only an equipment manufacturerbut also as a service provider of the digital intermediate. Many wouldagree that 35mm film still remains the best capturing medium for aproduct of superior quality. An obvious development resulting from thedigital intermediate process is the digital cinema. The data exists in highresolution and only has to be “packaged” appropriately, to be shown intheatres and ARRI is prepared now for this alternative form of distributionof the near future.

The transition from the analog to the digital days of distribution requiressignificant new investments in digital projection technology from thecompanies and organizations participating in the value-added process.Until now there are only about eighty screens in the German-speakingpart of the world equipped for digital projection.

In July of last year, with the passing of the Digital Cinema SystemSpecifications by the Digital Cinema Initiative, a group consisting of theseven major Hollywood studios (Disney/Buena Vista, Twentieth CenturyFox, MGM/United Artists, Paramount, Columbia Tri-Star/Sony PicturesEntertainment, Universal Pictures and Warner Bros. Studios), the technicalparameters for the digital cinema have for the first time been determined.The subject of the Digital Cinema System Specifications are all thetechnical details that play a role in the post production, distribution andprojection of digital movies. The largest part of these specifications dealwith questions relating to the security of the content.

ARRI & THE DIGITAL

A development team at ARRI Film & TVin Munich is currently working on theimplementation of the digital cinemaspecifications and has put together aworkflow for the production of digitalcinema masters. This includes tools forthe packaging and certification ofpicture and sound content. For qualityassurance reasons a test environmenthas been created that includesvarious server types and a Barco 2KDLP projector.

After the completion of the DCP (DigitalCinema Package) masters by ARRI Film& TV, they are then encoded and passedon to the appropriate distributors. ARRIis co-operating with companies such asXDC and T-Systems. There, the distributionDCPs are turned into release DCPs.

They are duplicated and each copy getsthe necessary additional information(watermarking, navigation files, etc.) foruse on the various systems in specifictheatres. Coding management, logisticsand playtime windows and theirextensions are the responsibility of thedistributor, so that a secure andharmonized workflow is guaranteed.

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

Workflow for the Production ofDCPs at ARRI Film & TVThe edited and graded finished film isplayed in maximum resolution on theLustre System with a specific grading-look-up-table (LUT) onto a DVS Clipster.In the next step, the data of the film isencoded by a Tandberg encoder in theMPEG-2 format. The resolution of theMPEG-2 data file is 1920 x 1080pixels. The data rate of the MPEG-2data stream is 80MBit/s.

In terms of the sound, the original soundmix that exists in a 24 bit BroadcastWave File is transferred with appropriateChannel Mapping into a polyphone file.

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VISIONARRI

CINEMAThen the picture and sound material ispackaged in the MXF Interop formatand encoded. To accomplish this, MXFdeveloped the necessary specificcertification tools. The variousspecifications of the playback serverscurrently on the market require anindividual adaptation of the content.

The scope of services available at ARRIhas again been increased with the newaddition of the DCP production.

This results in major benefits for clientsas the digital intermediate process canbe immediately followed by theproduction of a digital cinema master.Transporting unsecured film data toanother provider is no longer necessarybecause all services can be providedunder one roof. In addition, the clienthas the opportunity to check the endresult in a test environment.

The production of digital cinema mastersin DCI conforming JPEG2000 formats iscurrently under development at ARRI. �

Markus Kannewischer

3232

A tale of

New YorkIn the autumn of 1987, freelanceelectrician John Vanderlinden tooka call from Camera Service Centerwhile he was working on locationin Florida. He was surprised to beoffered a job back in New Yorkheading the maintenancedepartment for the dolly andlighting inventory but he decidedto accept, reasoning that it wouldprovide a stable wage that wouldallow him to set up home in NewJersey before returning to life onthe road.Nineteen years later, John’s responsibilitiesencompass not only supporting the dolly andsound boom fleet and repairing andoverhauling one of the largest lightinginventories on the East Coast – he also hasthirty trucks and almost as many generatorsto maintain, a fleet that he designed andcommissioned, working in one of the toughestenvironments in the United States: the streetsof New York.

Born in New York, John has always hada passionate interest in thingsmechanical. As a teenager hesuccessfully competed in off roadmotorcycle events, occasionally with hisbrother Glenn who manages the ARRICSC NY lighting & grip department.Although he now prefers to spend hisweekends with his young family, Johnstill occasionally rides on the road andonce the snow comes, the family’s snowmobile is put to good use.

ARRI CSC NY has acquired a strongfollowing for its location vehicles, andthis encourages John to make everyeffort to ensure that the fleet is in thebest possible condition and ready to goat any time. To beat the notoriousNew York traffic, trucks are leaving hisHoboken, New Jersey compound fromthe early hours, rain, snow or shine andno delay is tolerated. To ensure that he isproviding the most suitable vehicle forthe job, John searches for the bestpossible starting point – a strong andpowerful vehicle that is equal to the task

ahead and straightforward to maintain.In order to avoid the impact of thecorrosion that many vehicles suffer on theEast Coast due to the salting during thewinter, John tends to source his fleet fromthe West Coast. Once the appropriatedonor vehicle has been located, hearranges for the chassis to be modifiedto accept either generators, a suitablebox or, for a design pioneered byARRI CSC, a combined generator andbox called an “All In One”. In additionprovision has to be made for additionalfuel tanks and storages boxes which areunder slung along the wheelbase.

Some tractor units, such as the Peterbiltthat John has just completed have twogenerators fitted. In each case, a custommade base supports them, and provisionis made to access all sides of thegenerator for swift servicing or repair,another example of no effort beingspared to avoid any delay on location.Weight distribution and overall vehiclelength are amongst the many aspects ofa design that John has to take into

account. He has seen loads increase insize and weight over the years, and yetthe vehicle must not exceed the legalmaximum length or gross weight andmust be easily maneuverable for citydriving. Another area of change thatJohn has witnessed is in the rules andregulations that the fleet must adhere to– the increase in the length allowedbeing just one example.

Although the vehicles don’t rack up thesort of miles undertaken by theIllumination Dynamics fleet, they doencounter enormous wear and tear dueto the difficult nature of filming inNew York and the surrounding states.John’s efforts in presenting the very bestvehicles possible reflects the philosophyof ARRI CSC and Illumination Dynamics,and the understanding that our vehiclesare amongst the first on location andthat those first impressions count.They are built to ensure the maximumpossible safety and reliability and theyare built with passion and pride. �

Simon Broad

VISIONARRI

33

two citiesIn 1991, Bob moved to HollywoodRental, expanding his responsibilities toinclude the fabrication of productionvehicles and drivable generators.Clients came from both theentertainment business and the growingtelevised sports industry.

Bob brought his years of experienceand mechanical talent to IlluminationDynamics in 2001 as its TechnicalOperations Manager. With movie trucksalready plentiful in Los Angeles, IDfocused on the exacting requirements ofthe live broadcast business and createdthe Special Event Truck and the largerC-Unit for this market.

ID’s Special Event Trucks are unique tothe industry. They are designed to carrythe load requirements of live broadcast(including the generators, cable anddistribution), but compact enough toeasily drive the long distances betweenevents and be space-efficient in acrowded stadium. Bob purchases

pre-owned fleet trucks with low mileageand in good condition. These trucks arereconfigured to his design for the specificapplication of the vehicle. The framesare stretched at a frame shop, but Boband his crew at Illumination Dynamics domost other work in-house. It takesapproximately eight weeks from start tofinish (including time in the frame shop)to customise a Special Event Truck.

In addition to the Special Event Truck,live broadcast has enthusiasticallyutilized ID’s C-Units. These mobile powergeneration vehicles are also capable oftransporting additional equipment – suchas the host set, lighting package, sidelinedollies and electric utility carts – neededfor each event. Both vehicles require onlyone driver/technician, making themextremely cost-effective in acompetitive marketplace.

In addition to managing the ever-increasing fleet of trucks and generators,Bob is constantly improving the uniquedesigns of ID’s broadcast vehicles, aswell as insuring the performance andreliability of the TwinPack generatorsystems – paralleling plants that provideuninterrupted power for live televisionbroadcast. His engineering andfabrication talents are enhanced by hishigh standards of workmanship,maintenance and style. The IlluminationDynamics’ vehicles, bearing thesignature blue ARRI Group logos, areimpressive sights both on the highwayand at the stadium. �

Maria Carpenter

Los AngelesBob Cookson was born and raisedin Southern California’s SanFernando Valley. Just like hiscounterpart John Vanderlinden onthe East Coast, Bob loved to raceoff-road motorbikes with hisbrothers. He worked in thehousing construction industry untila slowdown provided theopportunity to look elsewhere foremployment.What he thought would be a temporary job atYoung Generators was the beginning of a newand stellar career in power generation andtransportation for the entertainment industry.

During his eight years at Young’s, Bobworked as a mechanic, designer andoperator – basically doing every job at thecompany except dispatching and accounting– and helped grow the business from six tothirty-five generators.

34

The Kreutz and Partner agency, Düsseldorf, developed a newcampaign for the health insurance provider IKK, featuring afamiliar face – the Exit Man. The famous icon and key visualwas to play the lead in this new TV spot. Under the auspicesof Bernd Kreutz, together with Ernst Kalff of REM Film &Television Production GmbH and Director WernerKranwetvogel, the specialists at ARRI Film & TV Commercialwere able to free the character from its rigid, two-dimensional existence and breathe new life into it.

IKK Spot At ARRI

How The Exit ManLearned To Walk

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VISIONARRI

�DIRECTORWERNERKRANWETVOGELand Adam Dukes

With approximately five million members IKK isamong one of the largest German healthcareproviders with an aim to continue to increase growth.In an effort to convince potential customers ofIKK services, the company invested in an attentiongrabbing television commercial campaign. To reachits target audience, a TV spot will run on the maincable networks and the ARD. IKK received strategicand creative support from Kreutz and Partner,Düsseldorf, assisted by the Munich basedREM Film & Television Production Company.A completely digitally produced twenty-fivesecond spot was created, under the direction ofWerner Kranwetvogel and with the help of theartists from ARRI Film & TV Commercial.

Transfer into the Third DimensionKreutz and Partner put the campaign symbol, theExit Man, at the heart of the spot. Today the ERCOcompany holds the copyright to the Exit Man, and allassociated figures. As a self-assured and likeablecharacter, he was supposed to act naturally in thecommercial. Not an easy task. Because, whatOtl Aicher had perfectly designed for the OlympicGames in Munich and what had been developed intoa symbol by ERCO during the seventies, proved to beproblematic during the first animation steps. Theconversion to 3D showed, for example, that the armsand legs of the original icons were of varying length.“The exceptional aspect of this work really was, toturn the two-dimensional original symbol into athree-dimensional one, so we could breathe life intothe Exit Man,” says Rico Reitz, Art Director andInferno Artist at ARRI Film & TV Commercial. It had tobe determined where the arm and leg joints of thecharacter had to be and what the front and the sideview would look like. An absolutely binding designfeature for the world of the Exit Man was the basicdesign unit of the figure, the distance between thearm and the upper body. Rico Reitz continued “A lotof things couldn’t be discussed in advance, becausethey were unforeseeable. Many elements were inventedduring the actual creation process. Everyone sharedtheir own ideas – and we laughed a lot.”

Optimal WorkflowARRI provided an AVID for the production of thecommercial. In addition, a 3D computer was installedin the suite and an animator was at hand. This way,the animation was directly integrated into the editingprocess. Werner Kranwetvogel was in the AVID suitemost of the time as well in order to view and assessthe 3D animation before the actual edit. In thisconfiguration, he was able to decide during theediting session where a camera move or an additionalcharacter was missing. At the same timethe 3D Artist Adam Dukes was able to immediatelyimplement his directions. Philipp Bartel, Head ofPostproduction Commercials at ARRI Film & TV, said”We have created a work environment for commercialproduction that guarantees an optimal workflow.”

A New World is CreatedThe creative team recognized how complex thisseemingly simple film would be, particularlybecause it had been decided to work off of thetwo-dimensional look. Many elements, such as the busor the wheelchair user, were introduced as theproduction progressed, and had to be animated aswell. “We have invented a completely new world andhappened upon many funny details,” Rico Reitzcontinues. ”For example street lamps or trees, with adog raising its leg.”

After the scenes were completed, they weredramatized. There, the work of a classical filmcamera served as a point of reference. Each shotincluded a subtle camera move, in order to create amore interesting and film-like look.

Later the finishing of the commercial, to harmonizethe individual scenes of the film, was, in a time-savingmanner, completed on the Flame. At this stage thefinal touches were put on the individual layers the 3Dprograms had created, including: colour correction,lightening up or intensifying shadows andatmospherically enhancing the piece throughbacklighting. Also, the focus was worked on, in orderto draw attention to individual characters, forexample the protagonist of the spot. Finally, addingfilm grain gave the desired look the finishing touch.

Rico Reitz raved about working with the team:“First, the idea existed in the head of the Director.We had the same ideas during the visualisationprocess. That’s the fantastic part of working directlywith the Director, the production company and theagency. This way, we were able to implement manydesign steps quickly, until the result satisfiedeveryone.“ Director Werner Kranwetvogel enjoyedthis way of working too: “What was a new andwonderful experience for me on this particularproject, was that I worked with animated charactersthe same way I would have worked with actual actorsand that I could, and had, to give the ARRI artistsdirections like I would have on a set shooting a film.The teamwork was exceptional.“ �

www.rapideyemovement.de

Martina Valkenburg

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As the film was to be projected onto theinside of a large dome, it was decidedthat working on a monitor would not besuitable during colour correction. So, likein feature film post, it would be better towork on a movie theatre screen of thelargest possible size with a projector.The dome at VW in Wolfsburg has adiameter of 49.2 feet with a projectionsurface of about 1148 square feet. Thissize specification is easily possible in theLustre Master Suite at ARRI, Munich, astate-of-the-art colour grading suite with aBarco 100 projector and an 85.28square feet screen, allowing colourcorrection to be carried out under movietheatre conditions. In addition, ARRI Film& TV made a mini dome and a projector

available, so that the effect of theimages could be viewed in advanceunder the realistic conditions of a dome.The mini dome measured 6.56 feet andgave the viewer the possibility to get ageneral impression in advance, whichwas greatly appreciated by the Director,DoP, agency and client.

The campaign for VW included fourfilms based on Spring, Summer, Autumnand Winter. The scenes for Summer andAutumn were shot in Argentina andSpring and Winter in the Austrian Tirol.Michael Koch joined the various locationscouts during prep as a Consultant.

On the Avid, with the help of thefootage shot on DV, the locations wereselected and storyboards were created.During the online edit and thesubsequent creation of the four masteringprojector streams, the images werecustom-made for the dome.

To guarantee the best possible imagequality, Vistavision footage was used.It was scanned on an ARRISCAN as 6Ksingle images. In a Vistavision camera,the film runs horizontally – as is the casein stills photography. Each image has 8perforations, and is therefore twice aswide as normal 35mm film and thereforehas an even higher resolution as thealready quite brilliant 35mm image.

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

ARRI & the

FOUR SEASONS

37

VISIONARRI

“There are very few post houses inGermany, or Europe for that matter, thatcan offer such an integrated workflowwith Vistavision – from developing totelecine, to hi-resolution scanning,to the integration of the DI on the Lustreand the VFX, to processing of data fromthe Vistavision footage – all of thatdistinguishes ARRI as a highly capablepost production house,” says HenningRädlein, Head of ARRI Digital Film.

Additional unique elements especiallycreated for the production were thecamera buggies, on which theVistavision camera was mounted.In addition, an 8mm lens was used tocreate a circular picture on the negativewith all compositing work done on thecircular picture. Afterwards a textureconversion was completed in Photoshop.The now rectangular texture wasmapped in 3Dmax onto a hemisphere,which was then again filmed by fourvirtual cameras and thus the streams for

the individual projectors in the VWdome in Wolfsburg was created.

“Within ten weeks our team of fiveShake Artists completed the work on theeight minutes of footage. As most of theshots called for bright, clear skies, themajority of the work consisted of skyreplacement. In addition, there were lensflares in almost every shot, because ofthe use of the 8mm lens, which had tobe touched up. To ensure that theimagery could be followed from allangles when projected in the dome, splitscreens had to be created. But the maintask was to give the cars a particularlybeautiful and realistic look, withoutmaking them obtrusive,” says PostProduction Producer Philip Hahn.

“The scenes with the 3D animated snowgoose, which landed on a frozen lake,were created in collaboration withPixion, Amit Gupta’s company fromBandra Mumbai, India. All other 3D

animations were created at ARRI inMunich including some scenes at a racetrack involving horse races with a largenumber of people, for which crowdreplication was used. In addition twomulti-layer shots were created,”he continues.

To judge the effect of the images underrealistic conditions, individual shots andsequences were screened and approvedon location in the dome in Wolfsburg.The agency, the production company aswell as ARRI Colourist Traudl Nicholsonand the main Artists, Klaus Wuchta andMichael Koch, attended the screenings.Only in the dome was it possible tojudge the real effect of the final image.

Currently, the finished film Four Seasonsis playing in the dome theatre inWolfsburg as part of the regulardaily programme. �

Philip Hahn & Jochen Hähnel

�FILMING in the Austrian Tiroland Argentina

�DOME THEATREin Wolfsburg

38

MOMENTS IN TIMEDARK PASSAGEHollywood Debut of the ARRIFLEX 35

VISIONARRI

39

Dark Passage is notable mainly for itsuse of a dramatic device that is mostcommonly referred to as subjectivecamera, a technique whereby action isviewed through the eyes of a particularobserver, rather than through the usualobjective, impersonal point of view. Thefilm opens with Bogart’s character,Vincent Parry, escaping from prison byconcealing himself in one of severalbarrels on an outbound truck. Havingmanaged to topple the barrel from themoving vehicle and career down a hillwithout injury, he stumbles intoundergrowth without the audience havingseen his face. For the next thirty minutesof its running time, the film utilises thesubjective camera technique almostexclusively. Actors perform directly intothe camera as Parry sets about clearinghis name of the murder of his wife,accompanied by a Bogart voice-over.This and other deceits, such as theappearance of Parry’s hands performingfunctions immediately in front of the lens,seek to give the impression that we in theaudience are seeing precisely what thecharacter is seeing. Only after Parryundergoes plastic surgery to alter hisappearance is Bogart’s face finallyrevealed, from which point the movieadopts a more conventional andobjective filming style.

The notion of a subjective camera hadbeen experimented with on variouspreceding movies. Perhaps the earliestexample is in FW Murnau’s 1924 filmThe Last Laugh, during which the viewersees through the eyes of severalcharacters, including those of a drunk.Rouben Mamoulian’s Dr. Jekyll and MrHyde, released in 1931, also utilised thedevice to great effect. It was

Orson Welles, arriving in Hollywood asthe “boy genius” of radio and theatre toa fanfare of mixed publicity in 1939,who first considered using subjectivecamera for an entire film.

Having signed a contract with RKO thatgranted him more creative control as aDirector than had any other contract inHollywood’s history, Welles decided thathis first film would be an adaptation ofJoseph Conrad’s Heart of Darkness. Hisidea was to present the whole story fromthe narrator Marlow’s perspective and,just as in his radio broadcasts, he wouldopen the piece by addressing hisaudience directly: “Everything you see onthe screen is going to be seen throughyour eyes, and you’re somebody else.” Ina characteristically unnerving explanatoryprologue, the audience would first be shotby a revolver at point blank range in acage and then led to the electric chair fora second execution, after which a hugeeye would appear on the screen next toan equals sign and a capital I. Eye = I.And then the main story would begin.�

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

“EVERYTHINGYOU SEE ONTHE SCREEN ISGOING TO BESEEN THROUGHYOUR EYES,AND YOU’RESOMEBODYELSE.”

MOMENTS IN TIME

40

Tests were carried out and a great deal of pre-production workundertaken, but it was concluded that the revolutionarycamerawork, made extremely difficult by the bulky camerasthen in use, would tip the film drastically over budget at a timewhen the outbreak of war had prompted a general drawing ofpurse-strings at the studios. Heart of Darkness became the firstof many film projects Welles had to abandon.

The idea of a subjective camera movie was resurrected severalyears later by Robert Montgomery, making his directorialdebut with a screen version of Raymond Chandler’s Lady inthe Lake, released in January 1947. An Actor-turned-Directorlike Welles, Montgomery would also play the character whoseperspective is that of the camera and who is seen onlyoccasionally, in mirrors. Bizarrely, the character was alsonamed Marlowe – Philip Marlowe, Chandler’s hard-drinkingprivate eye. Publicity for the film pushed the audienceparticipation aspect that had so enthused Welles: ‘YOU acceptan invitation to a blonde's apartment. YOU get socked in thejaw by a murder suspect!’ Montgomery even included aWellesian introductory voice-over: “You’ll see it just as I saw it.You'll meet the people. You'll find the clues. And maybe you'llsolve it quick and maybe you won't.”

A significant proportion of the budget for Lady in the Lakehad to be spent on breakaway sets and complicated cameraset-ups. “The real challenge was the filming itself,”Montgomery later commented. Studio cameras of the daywere huge, unwieldy pieces of equipment, while smallercameras were mechanically inferior and ergonomically flawed.As a result, many of the film’s subjective camera moves seemclumsy and unnatural.

Later that same year, Dark Passage arrived on the nation’sscreens. Delmer Daves had realized that the choice of camerafor point of view shots was of crucial importance. Learning thatseveral ARRIFLEX 35 cameras had been brought back to theUSA after having been seized from Germany at the close ofthe war, Daves acquired one from the US government and hada body-rig built so his cameraman could easily operate whilstmoving around. Veteran DoP Sidney Hickox, who had alsophotographed the two preceding Bogart – Bacall movies,quickly adapted to using the small and portable camera bothon set and on location in San Francisco.

Daves thought carefully about how he would assemble thefootage: “I learned that we don’t use our eyes the way film isedited, so instead of direct cutting I dissolved or cut on pans.”This method of working created much more fluid and naturalPOV shots than Montgomery had achieved. The compactdesign of the ARRIFLEX 35 and its reflex viewing systemallowed for more intimate and precisely composed images,which gave a polish to the film’s subjective camerawork thatLady in the Lake had lacked.

After 1947 produced the two most cited examples of its use,the subjective camera technique fell from favour. It was takenup by the horror genre as a means by which to hide theidentity of murderous protagonists after the influential work ofDario Argento and has been used in various science-fictionfilms, but only ever for individual shots or short sequences.Most recently, Brian De Palma brought the device back to filmnoir by including a subjective camera scene in The Black Dahlia,though such examples are few and far between incontemporary cinema. Unlike the dramatic device for whichit was first utilised in Hollywood, the ARRIFLEX 35mm reflexcamera went from strength to strength and was used on anever increasing, indeed a now countless number of films. �

Mark Hope-Jones

�ORSON WELLS planning his doomedHeart of Darkness adaptation. ‘Eye = I’

�POSTER ARTWORK for Lady in the Lake.‘You = Robert Montgomery’

41

VISIONARRI

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

The Da Vinci Code 2006Filming at the Louvre in Paris was tightly controlled in order not to disrupt themuseum and to protect the priceless works of art it contains. No equipment wasallowed inside during opening hours so filming took place at night. As it wasstrictly forbidden to shine light on the Mona Lisa a replica had to be used instead.It was also forbidden to use fake blood or anything else on the wooden floors ofthe museum so some scenes had to be recreated at Pinewood Studios, London.

United 93 2006The families of the passengers andcrew killed on United Flight 93supported the production, providingDirector Paul Greengrass withdetailed background informationabout their loved ones, from theclothes they wore to what readingmaterials or music they had withthem. The cast were then each givenstudies of their real life counterpartsenabling Greengrass to partiallyimprovise some of the events forthe film.

King Arthur 2004Over four hundred extras were used as Saxonwarriors, most had never had any fight training.Weaponry used included about three hundredswords, seven hundred spears and three hundredaxes. During intense action scenes cameras wereattached to shields, swords, helmets and spearsto get right in amongst the fighting to recreatethe realism of battle.

Munich 2005The film was completed and ready for release in less than six months from thestart of production. So that the film would be ready for consideration for theAcademy Awards, Steven Spielberg and Editor Michael Kahn devised a strictediting schedule. Scenes shot in Malta and Hungary were edited straight awayand each day Spielberg would review an edited scene that had been shot twodays previously. Scenes shot in Paris and New York were edited two weeks aftershooting finished and completed within two weeks. Each edited scene was thensupplied twice so that music and sound effects could be both worked on at thesame time.

Pride & Prejudice 2005To begin with, Director Joe Wright was not keen onthe idea of Keira Knightley playing Elizabeth as hethought she was too attractive. When they actually methe changed his mind, as he believed her tomboyishattitude would be perfect for the part.

?Did youKnow

42

Frank GriebeDirector of Photography

1 Which film first inspired you to work inthis industry?Bambi, because it was the first film I watchedin a movie theatre.

2 What’s your cure for the ‘morning afterthe wrap party’ feeling?Aspirin and a lot of sleep.

3 Name three things that make you smile.Eating (with) Friends (by) the Sea.

4 What was the first car youever owned?An orange Renault Fuego.

5 What’s the one thing you can’tlive without?Coffee.

6 If your life was a film, what filmwould it be?Monthy Python’s The Meaning of Life.

7 Most embarrassing moment?Having to answer questions in interviews.

8 Who inspires you?Friends.

9 Three people (living or dead),you’d most like to dine with.Wolfgang Amadeus Mozart, Alfred Hitchcock,Sepp Herberger (Soccer Legend).

10 What was the last film you saw?Miami Vice.

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

Take

10The art and craft of filmmaking wascelebrated at the Academy of Motion PicturesArts and Sciences’ Samuel Goldwyn theatreBeverly Hills with a special screening ofCinematographer Style for the cast, crew andindustry professionals. The 90 minutedocumentary weaves a collage ofcommentaries by 110 Cinematographers from15 countries into a multi-faceted story aboutthe universal art of telling stories with movingimages. The event was hosted by ARRI, Kodakand Technicolor.Jon Fauer, ASC produced, directed and photographed some200 hours of dialogues with Cinematographers who work innarrative films for television and the cinema, documentaries,music videos and commercials.

All of them were asked why and how they becameCinematographers, who influenced and motivated them, theorigins of the “looks” they have created, and whether newtechnologies and techniques affect their work.

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

“Our goal was to take the audience on a journey into thehearts and minds of many of the world’s most giftedCinematographers,” Fauer says “Most of them werereluctant to be on the other side of the lens but they wereall amazingly articulate.”

ARRI agreed to provide funding and equipment, Kodakvolunteered to supply the film and Technicolor offered laband telecine services.

Cinematographer Style will eventually be released as a DVDand Fauer plans to use it as a background for a book.A substantial portion of the profits from the DVD and booksale will be donated to the American Society ofCinematographers education and building fund.

To find out more go to www.cinematographerstyle.com

CINEMATOGRAPHERSTYLE SCREENS ATTHE ACADEMY OFMOTION PICTURESARTS & SCIENCES

�ONE OF THEINTERVIEWEES,CinematographerVittorio Storaro

VISIONARRI

43

News from around the world

High Definition on Expansion CourseLudwig Camera Rental and ARRI Rental Collaborate

“Both companies have equally high qualitystandards. The positive image of both companiesmakes us an ideal partner and service provider tothe business,” comments Thomas Loher, ManagingDirector of ARRI Rental Germany GmbH. “Thephilosophy of these companies is identical and theiroutstanding competence is widely recognized.”

The goal of this collaboration is, to servicetechnicians and production needs even moreextensively. The clients will deal with one familiarcontact person, who can support the entire projectfrom one source.

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

ARRI Rental Germany have announced theircollaboration with Ludwig Camera Rental,specializing in high definition equipmentrental, with offices in Munich, Hamburgand Cologne.The company, founded in 1990, showed great interestearly on in HD technology, thereby gathering extensiveknowledge and experience. “For years now, we havenoticed a rising demand for HD equipment for featuresand TV productions, but also for live events. We havecontinuously invested in the latest technology and in doingso have not only become the market leader in rental, butalso a competent advisor in the German speaking world,”says Martin Ludwig, Managing Director of the rental houseand experienced Director of Photography.

With this partnership in the HD realm, ARRI Rentalcompletes its extensive range of services. At the same time,Ludwig Camera Rental can take advantage of thecompetence of ARRI Rental in lighting and stagetechnology. In addition, Ludwig Camera Rental now hasaccess to the ARRIFLEX D-20 and also the optical spectrum,from Zeiss Digi-Primes from its own supplies and theMaster Zoom from ARRI Rental.

�MARTIN LUDWIG

NEWS FROM AROUND THE WORLD

44


In the heart of Schwabing in Munich, only a few stepsfrom the ARRI Film & TV/Commercial suites,punchin.pictures has set up its new studio as of August2006. In close collaboration with the 3D specialist,ARRI has created a highly effective service package forits commercial customers.

Proximity is crucial, when implementing creative ideaspromptly and precisely. In the commercial realm inparticular, the inventiveness of the agencies has led to anincreased demand for 3D animation in order to realizethe often complex concepts of commercial spots.Therefore, creative cooperation is essential.

ARRI Commercial saw an opportunity and brought the3D specialists from punchin.pictures on board. Now,both companies are delighted about their partnershipand their ability to offer the complete range of servicesfor commercial post-production right next door toeach other.

Punchin PicturesManager Phil Decker and his punchin.pictures studiohave worked in 2D and 3D animation for almost tenyears. The company continued to grow over the yearsand has visualized ideas for clients such as BMW andToshiba (Flatscreen). Recently the studio, in collaborationwith ARRI Commercial, has created spots such asMcDonalds (Supersonic, Hello Kitty), IKK (Exit Man) andCortal Consors (Platz da).

Today, the team surrounding Phil Decker consists of fivepermanent employees. In addition, the studio has a wideranging network of 3D specialists at its disposal, withexpertise in almost all areas of animation. Thesespecialized 3D Artists can be called upon as needed.Their know-how ranges from architecture, nature,photorealism, animals, characters, cartoons, technical 3Danimation all the way to motion graphics and screendesign. Their portfolio also includes complex texturizingprojects and demanding fluid-animations.

Co-ordination and Customer ServiceContact and project supervision are organized throughARRI Film & TV/Commercial. ARRI brings together theart, compositing and 3D team and ensures the progressof a seamless and flexible project. Altogether, thecompany provides almost all services for commercialpost-production.

Creative ExchangeARRI makes a special team available to addressdemanding design and effects needs and is involved indeveloping special solutions with the AdvertisementExecutives. On particular projects, the most advancedtechnologies and solid experience can be relied uponstarting at the conceptual phase.

ARRI commercial, visual effects & 3D Designers areinvolved and consulted during the initial conversationswith clients, resulting in clear communication structuresand cost effective finishing of the project.

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

SpeedIn addition, the 3D animation workflow is even fasternow. Not only the spatial proximity but also the renderfarm with its 98 processor units make fast correctionspossible and once the high-resolution data has beenproduced it is also made available for print and all otheradvertising output. �

Martina Valkenburg

ARRI Commercial Expands the ThirdDimension Together with punchin.pictures

�THE TEAM at punchin.pictures

45

VISIONARRI

SchwarzFilm Joins the ARRI Group

ARRI Film & TV has acquiredSchwarzFilm, therebycontinuing to enhance itsstanding in the national andinternational markets. Themerger with SchwarzFilm,who have offices in Berlin,Ludwigsburg/Stuttgart, Zurichand Bern, will significantlyimprove the internationalnetwork and the range ofservices of ARRI Film & TV,allowing it to keep pace withthe rapid change from analogto digital technology as wellas the globalization of thefilm industry.“In the film industry, Berlin is gainingmore and more importance as abusiness location and so we aredelighted, that as a result of our mergerwith SchwarzFilm, we are now able tooffer our clients lab and post productionservices that reflect the ARRI quality, inaddition to camera, light and stageequipment rental through ARRI RentalBerlin,” explains ARRI General ManagerFranz Kraus.

Outwardly, the changes due to themerger of the two companies areminimal: “Member of the ARRI Group”will be added to the SchwarzFilmcorporate logo, however the companywill remain a separate legal entity.Philipp Tschäppät will continue to serveas General Manager and personnel willnot be affected by the changes.

“The merger with the ARRI Group, with its worldwidelocations, allows us to offer the entire range of ARRI services.We’re very excited about this, not only because we are ableto significantly increase and improve the scope of services weoffer, but also, because we can now assure our clients, thateven beyond national borders, we will be able to offer timely,high quality completion of their productions with state-of-the-arttechnology and with the best price-performance ratio,”explains Philipp Tschäppät.

Both companies will profit from each others strengths, allowingthem to provide an even better service to their clients.“SchwarzFilm, with the equipment in its digital lab service, willprimarily assist low budget projects, i.e. 16mm, HD or videoshoots and HD post production, while ARRI will service themore demanding national and international productionsthrough its high-end ARRISCAN-LUSTRE-ARRILASER track andthe Digital Intermediate (DI). We can optimally combine ourrange of offered services through this cooperation,” addsFranz Kraus regarding the joint venture. The goal is, toexpand the Berlin location. To start up a tape-tape track and inthe medium range, to invest in post production sound.

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

The name SchwarzFilm has stood for quality for more than sixtyyears. The personnel of both companies are known for theirdedication and their belief in their products and their knowledgeof the industry. Combined with the state-of-the-art technologythe merger will guarantee that clients will receive first rateassistance and the highest quality finish on their projects. �

Jochen Hähnel


�SCHWARZFILMGENERAL MANAGERPHILIPP TSCHÄPPÄTwith ARRIGENERAL MANAGERFRANZ KRAUS


46


The VisionTeam is a young Hungarianpartnership, which has been created toanswer the challenges of the increaseddemands of the film market. The companyaims to keep abreast of the newdevelopments of the film industry byproviding the latest technical equipment todomestic and foreign filmmakers.“Fifteen years ago, when I bought my first lights, Iwouldn’t have dreamt that the company would exceedmy most optimistic expectation. My original idea was tobuild a light and grip equipment stock that would servemy own work.” says Árpád Szirmai Chief LightingTechnician and founder of VisionTeam. “In 2001 myfriend and future business partner Gábor Rajna cameto me with the idea to expand our range of serviceswith the rental of cameras and camera accessories.Our growth has been unstoppable ever since andthe founding of the new company, the VisionTeambecame necessary.”

At present we stock seventeen different kinds of HD,16mm and 35mm cameras are available to clients, notto mention a full line of lighting and grip equipment.”I feel that the constant renewal of equipment and themeeting of individual needs is very important. This is thereason why we have purchased unique equipment, byEuropean standards.” explains Gábor Rajna. Theseinclude the Revolution Snorkel Lens System, a Photo-SonicCamera or from our grip department the seventeen metreGalaxy Crane and 3 axial Scorpion Remote Head toname a few. Beside the rental side of the business,VisonTeam pays particular attention to providing a fullrange of services to Hungarian and foreign clients. Theyhave created an in-house post production studio to servelow budget productions and also a small stageappropriate for shooting smaller scenes and pack shots.

The Hungarian success of the VisionTeam is due not only totheir purchases, but also to their highly qualified team. Theyare associated with many Gaffers and Key Grips with theirown crews, thus providing not only equipment, but also acomplete line of lighting and grip services. Besides, as amember of the ARRI Rental family, VisionTeam has quickand direct access to additional equipment, if necessary.

To celebrate this new partnership with the ARRI RentalGroup, VisionTeam organized, together with ARRI RentalMunich, a large scale Workshop and Opening Party inJune 2006. They welcomed, together with Thomas Loher(Managing Director ARRI Rental Germany) and AngelaReedwisch (Key Account Manager ARRI Film & TVServices), the prominent Hungarian filmmakers.

“The conception of the Hungarian Movie Act has createdfavorable financial conditions for the film industry. Thishas therefore created a tremendous amount of interestfrom foreign production houses in the Hungarian serviceand co-production work. Last year several internationalfilms were shot in Hungary and many more this year andbeyond. We believe that our ARRI Rental Partnership andthe modern range of our equipment enable us to take aneven larger role in servicing these foreign productions.”says Gábor. “Of course, in the future we are still judgingour local market to be important. We feel it is our missionto provide the same quality of service and equipment tothe Hungarian filmmakers. We have devised a structure tosupport local low budget documentaries, short films andfilm school diploma projects. Our efforts have been sosuccessful that at the 37th Hungarian Movie Festival halfof the productions had been made with the active supportof the VisionTeam, including the Grand Prize winnerfilm Taxidermia.

Our long-term goal is to create a regional companywith its base in Budapest and to serve the entire EasternEuropean movie making market. The first step towardsthis goal was to open our subsidiary company in theSerbian Republic.”

ARRI Rental Partner VisionTeam Hungary

�THE STAFF OFVISIONTEAM togetherwith Thomas Loher (3rdfrom left), ManagingDirector of ARRI RentalGermany

�CAMERA PRESENTATION in focus fox studio

47

VISIONARRI


High-Speed, High-Definition Camera aWinner at World Cup 2006

ARRI Media’s new digitalhigh-speed camera, known asthe Hi-Motion, got off to aflying start this summer whenHost Broadcast Services (HBS)used the system in theircoverage of the 2006 FIFAWorld Cup™.Originally intended as an additionalinnovation to enhance the World Cupviewing experience, it was initiallythought by HBS that the camera wouldbe used chiefly for highlights andanalysis applications but the superslow-motion sequences proved sodynamic that clips were also utilisedextensively during the main coverageof matches.

Used at twenty-four games throughoutthe World Cup, from the opening matchin Munich to the final in Berlin, thecamera’s ability to deliver live-to-airmeant that viewers around the worldwere able to see the dramatic detail ofevents, such as Michael Owen’scollapse from a knee injury early inEngland’s 2-2 draw with Sweden,David Beckham’s free-kick goal againstEcuador and Zinedine Zidane’s penaltygoal in the opening minutes of the final,within seconds of them actuallytaking place.

The camera, developed by NAC Image Technology andexclusively provided in Europe by ARRI Media, is a truehigh-definition, high-speed system that can integratedirectly into a multi-camera broadcast infrastructure.Capable of shooting at three hundred frames per secondwith a full HDTV resolution of 1920 x 1080 pixels, theHi-Motion provides recorded images instantly forplayback, without a processing delay. Playback footage issix times slower than regular coverage, revealing detailand movement that would be impossible to see anyother way.

Following on from its success at the World Cup, theHi-Motion continued to deliver tremendously excitingslow-motion throughout the summer, and was usedextensivley by Sky Sports for coverage of cricket, rugbyand show jumping.

For enquires about the Hi-Motion or Tornado systemcontact Andy Hayford on +44 1895 457100 oremail [email protected]

�THE HI-MOTION in actionat the World Cup 2006


48


ARRI Focus, a subsidiary of ARRI LightingRental, devoted specifically to servicingthe commercial, music video andshort-term lighting rental markets in theUK has developed a new Distribution Rackto compliment the successful Roll-A-Racksystem.The rack, aptly named the Distribution Rack, takes it onestep further by combining various high densitydistribution units into one bespoke rack, enabling notonly the lighting equipment to be rapidly off loaded anddeployed but a complete distribution system as well – justadd power!

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

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

The system design and power configuration wasdeveloped by Ricky Miller, Technical Director of ARRIFocus, in conjunction with Mike Ohara of ALR andseveral freelance Gaffers, as such, all concerned areconfident that they have created a versatile distributionsystem which will be welcomed by Gaffers andTechnicians, saving rigging and installation time andmoney for production.

Each Distribution Rack is capable of controlling1200amps, or 275kW of lighting.

Power input is via 400amp 3 Phase .2 cable

The Distribution Rack, compatible with Roll-A-Rack can ofcourse be used with any range of equipment from ARRIFocus and ARRI Lighting Rental as demand increases.With the introduction of this versatile rack there are plansto develop even more options in the near future.

For more information, including detailed configurationoptions and rental charges email: [email protected]

�SWITCH CONTROL

�OUTLET SOCKETS

Power out connectors can be configuredto include any of the following:

150amp .1 single phase

63amp three phase

63amp single phase

32amp multicore (3 x 32amp)

32amp single phase.

16amp socapex (6 x 16amp)

16amp single phase

Additional features include:

Switchable RCD protection

Digital amp meters for load indication /phase balancing

Shut-down isolator

400amp through connectors, for daisychaining additional racks

Power input & output indicators

Ready to RollARRI Focus Develops New ‘Distribution Rack’

49

VISIONARRI

ARRI CSC Announces New Location forNew York Lighting & Grip Department

In addition to its extensivefilm and digital camera rentalfleet, ARRI CSC operatesone of the largest lightingand grip departments on theEast Coast.After forty years on the West Side ofManhattan, lighting & grip is beingrelocated to a spacious new facility innearby Secaucus, New Jersey.

In order to better serve its feature film,television, commercial and music videoclients ARRI CSC is now able to providea facility unlike any other. Housed inover 55,000 square feet of modern,industrial warehousing, fifteen minutesfrom Manhattan, the building providesample parking for trucks, vans and cars,five loading docks, meeting rooms, afully stocked expendables sales outletand twenty-four hour security.

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

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

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


50



The ARRI Rental Group are delighted toannounce that NAC Rental, Japan havebeen appointed an official ARRI RentalGroup Associate, the first associatein Asia.NAC Rental, a division of NAC Image Technology hasbeen involved in the hire of camera equipment since1976 providing the film and television industry with anarray of products including many manufactured by ARRI.2003 saw the addition of a digital camera departmentgiving their clients further state-of-the-art options in imagecapture.

NAC Image Technology, were responsible for thedevelopment of the Hi-Motion HDTV high-speed camera.The collaboration between the ARRI Rental Group andNAC led to the Hi-Motion swiftly becoming popular atinternational key sporting events, for example; the 2006World Cup in Germany.

Renos Louka, Head of Rental comments “We have had asuccessful association with NAC Image Technology formany years and so it made good sense to appoint theirrental division as an associate. Their service and supportreflect the same values as those of the ARRI RentalCompanies, partners and associates and thiscollaboration will help to further increase theinternational rental network providing productions withcutting edge technology.”

NAC Rental Manager, Mr. Shindome agrees “NACRental is committed to the film and television industryand has concentrated on expanding the rental divisionin the last five years. We are now in an ideal position toserve the industry and are pleased to take a further stepby becoming an official member of the ARRI RentalGroup This association will enable our clients in Japanto experience the professional service and support thatthe ARRI Rental Group provides worldwide.”

�MR. SHINDOME, NAC RentalManager (left) and his team

NAC Rental Become ARRI Rental Group Associate

51

UPDATEPRODUCT

VISIONARRI

ARRI Studio Ceramic 500ARRI Lighting expands the Ceramic range with the introduction of thenew Studio Ceramic 500. After initial success of the ARRI X Ceramic250 and the Studio Ceramic 250, ARRI complements the Ceramic rangefor ‘cool’ studio solutions.

The 500W Ceramic power class offers a true 3200K energy efficientequivalent for a 2kW tungsten Fresnel spotlight. The ARRI X Ceramic250 and the ARRI Studio Ceramic 250 have already proved worthysubstitutes for respectively conventional 2kW softlights and 1kW tungstenFresnel spotlights.

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

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

AT A GLANCE500W / 90–265VAC 50/60Hz3200K / CRI>90 with CST 500 HR1000hrs lamp lifetime, CST 500 HR45000lm, 90lm/W, CST 500 HRHot restrikeBuilt-in ballastFlicker free (130Hz)

Benefits

Maintenance, running costs, air conditioning,wiring, transport, generatorsLower thermal stress to performersLonger lifetime for colour gels

Versions

ManualPole operation Surface temperature comparison,

ARRI 2000 versus ARRI StudioCeramic 500 (prototype)

52

PRODUCT UPDATE

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

FACTSOne matte box for both film anddigital applicationsMulti-purpose use, attaches to standardor lightweight rods, or clips directly to the lensAll filter stages rotateOffers use of top, side and bottomflags simultaneously

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

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

Lightweight Follow Focus LFF-1and Large KnobDesigned for small, lightweight cameras like the ARRIFLEX 235 and ARRICAM Litethe Lightweight Follow Focus LFF-1 is a compact, modular follow focus forhand held use.

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

The HE-5 fits all ARRIFLEX and ARRICAM cameras, as the connector housingcan be rotated, allowing it to be easily mounted on all cameras in all positions.A re-designed sliding lock ensures the HE-5 stays securely on the eyepiece.

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

Auto-Iris Heated Eyecup HE-5

53

VISIONARRI

FACTSThree diopters (+0.5, +1, +2) for close-ups beyondthe close focus of a lensSuperior image quality through achromatic elementsand the Zeiss T* coatingOptically matched to the Master Primes,but can also be used on other lensesProvide a better match to prime lenses compared tomacro lensesClamp-on mechanism ensures quick and easy use, andprecise fitNew creative possibilities, close ups at T1.3, wideshots with shallow depth-of-field

Master DioptersDiopters offer a convenient and inexpensive method of grabbing aclose-up beyond the close focus range of a lens, but the poor qualityof traditional single lens diopters has prevented them from being used.A new set of ARRI/Zeiss diopters, the Master Diopters, now offerconsiderably better optical quality and handling, allowing you toquickly grab an extreme close-up or get a wide angle shot with shallowdepth-of-field without sacrificing image quality.

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

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

Master Prime 100without Diopter

Master Prime 100 withMaster Diopter + 0.5

Master Prime 100 withMaster Diopter + 1

Master Prime 100 withMaster Diopter + 2

Master Prime 100 withMaster Diopter +1 and + 2

PRODUCTION UPDATE

54

ARRI RENTALProject Name Production Company Director DoP EquipmentAfrika, mon amour Moovie the art of entertainment Carlo Rola Frank Küpper ARRIFLEX D-20, 435, Master Primes,

Master Zoom, Angenieux Optimo,lighting, grip

Perfume - The Story Constantin Filmproduktion Tom Tykwer Frank Griebe ARRICAM Studio & Lite, 435, 235,Of A Murderer Master Primes, Master Zoom, Ultra

Primes, Highspeed lenses T1,3,3-Perforation, lighting, grip

Der russische ndF Ulrich Stark Peter von Haller Arriflex 416, Zeiss Ultra 16,Geliebte Ultra Primes, lighting, gripDie wilden Hühner Bavaria Film Vivian Naefe Peter Döttling ARRICAM ST/LT, Ultra Primes,und die Liebe Angenieux Optimo, 3-PerforationEin Paradies für Degn Film Peter Weissflog Lothar E. Stickelbrucks ARRIFLEX 416 Zeiss Standard T2,Pferde 1, div. Canon ZoomEine Stadt wird TV60Film Dominik Graf Alexander Fischerkoesen ARRIFLEX 16SR3, Zeiss Highspeed 1,3,erpresst div. Canon Zoom, lighting, gripHerr Bello collina Filmproduktion Ben Verbong Jan Fehse ARRICAM ST/LT, Master Primes,

3-Perforation, lighting, gripIch sehe was, was Ostlighting Filmproduktion Hagen Keller Philipp Kirsamer ARRIFLEX 16SR3, Ultra PrimesDu nicht siehst... lighting, gripKommissarin Lukas Olga Film Thomas Berger Torsten Breuer ARRIFLEX 416, Zeiss Highspeed T1,3,VI+VII Zeiss Standard T2,1, lighting, gripNativity The Northern Progress Catherine Hardwicke Elliott Davis lighting, grip

Company Ltd.Prinz Eduoard, Max X Filme Anna Justice Ngo the Chau ARRICAM ST/LT, 435, Ultra Primes,Minsky und ich Angenieux Optimo 3-Perforation, lighting, gripRennschwein Rudi Relevant Film Peter Timm Achim Poulheim ARRICAM ST/LT, 435, Ultra Primes,Rüssel 2 Zeiss Zoom VP1-3, 3-PerforationTango, Tango Roxy Film Thomas Kronthaler Christoph Chassée ARRIFLEX 416, Ultra Primes,

Ultra 16, lighting, gripSpring Break SBIB Productions Richard Shepard David Tattersall BSC ARRICAM ST/LT, 435, 235, Ultra Primes,in Bosnia Angenieux Optimo, lighting, grip4 gewinnt SamFilm Joachim Masannek Benjamin Dernbecher ARRICAM ST/LT, 435, 235, Ultra Primes,

Angenieux Optimo, 3-Perforation

Project Name Production Company Director DoP EquipmentFord Goodoil Matt Murphy Susan Stitt ARRIFLEX 435 Xtreme,

Ultra Primes, 24-290 Optimo,AAMI Plush Andrew Lesnie ARRIFLEX 435 Advanced,

Ultra Primes, 17-80 OptimoFosters - Flashbeer Plaza Films Paul Middleditch Andrew Lesnie ARRICAM Lite, ARRIFLEX 435

Advanced, Ultra Primes,17-80Optimo, 24-290 Optimo

Vodafone Engine Calvin Gardiner Calvin Gardiner 235, MacrosJetstar Flinders Lane Productions Ted Horton/ Danny Ruhlmann ARRICAM Studio, Master Primes &

Chris Dewey Ultra Primes,McLeods Daughters Millennium Television P/L Various Various ARRIFLEX 16SR3, Super Speeds,

11-165 CanonAmanda Baker Denson Baker Denson Baker Denson Baker Ultra PrimesToyota Japco unknown Allan Koppe ARRIFLEX 435 Advanced, Cooke S4Fox Sports Goodoil Matt Murphy Susan Stitt ARRICAM Studio, Ultra PrimesANZ Plaza Films Paul Middleditch David Gribble ARRICAM Lite, Ultra Primes, 25:250 HRFree TV Plaza Films Jon Gwyther Daniel Ardilley ARRICAM Lite,Goodoil - Toyota CameraTech Matt Murphy Greig Fraser ARRILFEX 435 Advanced, Cooke S4,17-80 OptimoThe Kite Runner Dreamworks Productions LLC Marc Forster Roberto Schaeffer ARRICAM Lite, ARRICAM Studio, 235,

Master Primes, 17-80 Optimo,24-290 Optimo, 15.5-45 LightweightZoom, 150-450 Hawk Zoom

UNIFEM - Dom Violence Goodoil Films Matt Murphy Susan Stitt ARRILFEX 235, Ultra Primes, 200mm,300mm

The Tattooist CameraTech Peter Burger Leon Narbey Ultra Primes & ARRICAM Studio -Dailies

ARRI AUSTRALIA

ARRI MEDIATitle Production Company Director DoP EquipmentThe Bourne Ultimatum Universal Paul Greengrass Oliver Wood ARRICAM Sudio & Lite & 235 &

Cooke S4Fred Claus Warner Bros. David Dobkin Remi Adefarasin BSC ARRICAM Studio & Lite & Zeiss

UltrasWhen Did You Last See Number 9 Films/Film Four Anand Tucker Howard Atherton BSC Moviecam & Hawks V SeriesYour FatherA Mighty Heart Paramount/Plan B Michael Winterbottom Marcel Zyskind Sony 750P HDSilent Witness BBC Television Various Kevin Rowley BSC ARRIFLEX D-20Mr. Polly ITV Wales Gillies MacKinnon Nigel Willoughby SR3A & ZeissInstinct Tightrope North Terry McDonough Ben Smithard SR3A & Zeiss UltrasMrs. Ratcliffe’s Revolution Assasin Films Billie Eltringham Sean Bobbit BSC ARRICAM Lite & SR3A & Zeiss

Ultras28 Weeks Later DNA Juan Carlos Fresnadillo Enrique Chediak ARRICAM Lite & SR3A & Zeiss

UltrasHyperdrive B BBC Television John Henderson John Ignatius SR3A & Cooke S4Run Fat Boy, Run Gold Circle Films David Schwimmer Richard Greatrex BSC ARRICAM Studio & Lite & Cooke S4

55

VISIONARRI

ARRI CSCProject Name Production Company DoP Gaffer Equipment Serviced byAmerican Gangster Universal Harris Savides Bill O’Leary ARRICAM Studio & Lite ARRI CSC NYBe Kind, Rewind Junkyard Productions Ellen Kuras John Nadeau ARRICAM Studio ARRI CSC NYBlueberry Nights 66 Degrees Prod. LLC Darius Khondji Gene Engels ARRICAM Studio & Lite ARRI CSC NY

Master PrimesDark Streets Capture Film International Sharone Meir Russ Griffith Lighting Illumination DynamicsOne Missed Call Missed Call Prod. Inc. Glen MacPherson ARRICAM Studio & Lite ARRI CSC FLReggaeton Ellen Gordon Prod. Zoran Popovic Evin Lowe ARRICAM Studio & Lite ARRI CSC FLRock Star, Supernova VX for CBS Jay Hunter Oscar Dominguez Automated & Illumination Dynamics

David Charles Sullivan conventional lightingStep Show Gotta Step Prod. Inc. Scott Kevan ARRICAM Studio & Lite ARRI CSC FL

3 PerforationUntold Stories of the ER GRB Entertainment Yoram Astrakhan Jeff Conrad Lighting & Grip

Illumination Dynamics

ARRI LIGHTING RENTALTitle Production Company Director DoP Gaffer Rigging Gaffer28 Weeks Later DNA Juan Carlos Fresnadillo Enrique Chediak Alex Scott Paul MurphyThe Other Boleyn Girl Boleyn Productions Ltd. Justin Chadwick Keiran McGuigan Mark Clayton Ian FranklinEastern Promises Focus Features David Cronenberg Peter Suschitzky BSC John Colley Vince MaddenStrength and Honour Strength And Honour Mark Mahon Alan Almond BSC Steve Swannell

Productions Ltd.The History of Mr Polly ITV Wales Giles Mackinnon Nigel Willoughby Kevin DayThis Life (10 Years On) This Life Productions Ltd. Joe Ahearne Peter Greenhalgh BSC Pat MillerMiss Marple (Nemesis) LWT Nicolas Winding Refn Larry Smith Phil PenfoldHyperdrive BBC John Henderson John Ignatius Larry Park Pat Miller/Paul BrownSuburban Shootout Feelgood Fiction Ltd. Gordon Anderson Ian Liggitt Joe AllenMansfield Park Company Pictures Ian B MacDonald Nick Dance Darren HarveyCape Wrath Eccosse Films Duane Clark John Daly BSC Tom GatesSupernatural (Empathy) Carnival Film & Theatre David Richards Andrew Speller Dan FontaineTrial of Tony Blair Mentorn Simon Cellan Jones David Katznelson Otto Stenov/Warren Ewen

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURESTitle Production Company Director DoP Services4 gewinnt SamFilm Joachim Masannek Benjamin Dernbecher Kopierwerk, 2K DI,

TV Mastering, SoundDie Augen meiner Mutter d.i.e. film Nuran D. Calis Helmut Pirnat KopierwerkErik Nietzsche Zentropa Productions Jacob Thuesen Sebastian Makker Blenkor KopierwerkHerr Bello collina Filmproduktion Ben Verbong Jan Fehse Kopierwerk, 2K DI, VFX,

TV Mastering, SoundMylana Dedo Weigert Film Roman Shyrman Eduard Timlin Kopierwerk, Scan&RecordPrinz Eduoard, Max Minsky X Filme Anna Justice Ngo the Chau Kopierwerk, TV Masteringund ichSieben Zwerge - Zipfelmützen Film Sven Unterwaldt Peter von Haller Kopierwerk, 2K DI, VFX,Der Wald ist nicht genug TV MasteringSommer 69 Constantin Film Marc Rothemund Martin Langer Kopierwerk, 2K DI,

TV Mastering, SoundSpring Break in Bosnia SBIB Productions Richard Shepard David Tattersall BSC KopierwerkUlzhan Volksfilm Volker Schlöndorff Tom Fährmann Kopierwerk, 2K DIWeißt was geil wär SamFilm Mike Marzuk Ian Blumers Kopierwerk, HD-DI,

TV Mastering, Sound

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALSClient Title Filmproduction Company Agency Director DoPFerrero Garden e+p commercial HP Albrecht Söhnke Wortmann Britta MangoldStabilo Schriftbild First Frame Serviceplan Vierte Norman Hafezi Bernd Wondolek

WerbeagenturING DiBa Markenfilm Helliventures Wüschner Rower Baier Joachim Hellinger Dieter DeventerSaturn Sieben redblue MarketingCortal Consors Platz da Serviceplan Zweite

WerbeagenturPlaymobil Sommer 2006 e+p commercial Reiner Holzemer Peter AichholzerBayerischer Rundfunk Bayern 1 Frist Frame Lissner Rappel Marc & Mike Kristian Leschner

WerbeagenturZweifel Chips Eskimo & Massage GAP Films Advico Young & Nic & Sune Richard Mott

Rubicam (Zürich)BFB GAP Films Advico Young & Stefane Coito Pascal Wegner

Rubicam (Zürich)Landliebe Landliebe e+pHipp Babysanft Hager Moss Commercial Serviceplan Shizue Erwan EliesKFH Bank Help Campaign Gulf Media

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.

Introducing the ARRI Zeiss Master Zoom 16.5 – 110.A high performance T2.6 lens that maintainsoutstanding optical image quality, covering the entireANSI Super 35 frame throughout the zoom range.

This powerful zoom produces a high-contrast, high-resolutionimage which is comparable to that of a prime lens, whiledisplaying virtually no breathing or ramping. Its unique opticaldesign reduces spherical aberration and keeps the imagegeometry free of distortions - so straight lines stay straight,even up close.

Now you can choose from more ARRI Zeiss lenses than everbefore. The Master Zoom further expands the ARRI Zeiss lensfamily, providing you with a robust, comprehensive choice ofmatched lenses of the highest optical and mechanical quality.

ARRI Zeiss Master Zoom 16.5 - 110mm

ARRI Zeiss Master Primes - 12 lenses ranging from 16mm to 100mm

ARRI Zeiss Lightweight Zoom 15.5 - 45mm

ARRI Zeiss Ultra Primes - 16 lenses ranging from 8mm R to 180mm

Your creative possibilities are endless.

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