N E W S

I s s u e 0 9 / 2 0 0 5
A R R I M A S T E R P R I M E S
A R R I F L E X D - 2 0
A R R I M A X 1 8 / 1 2
D-20 Revi ew 4
On- board Recordi ng Sol ut i on for ARRIFLEX D-20 7
ARRIFLEX D-20 on a Hot Ai r Bal l oon Ri de 8
Fi r st Master Pri mes i n Use / 10
Master Pri mes Technol ogi cal Benefi t s
T* XP Master Pri mes Get a New Lens Coat i ng 14
Wi de & St rai ght Ul t ra Pri me 8R Test s 18
Lens Dat a Mount
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Lens Dat a Archi ve
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ARRICAM on J UST FR I E NDS 22
R E T UR N T O R A J A P UR 24
Ar t l i te 25
Rent acam 25
Shoot i ng i n Paradi se 26
ARRIFLEX 235 i n Tornado Ai rcraf t s 28
Fi r st ARRIFLEX 235 i n Denmark 29
235 Lef t Rod Bracket LRB-1 29
235 Compact Rod Hol der CRH-1 29
Around t he Worl d wi t h SUPER 16 30
ARRI/Zei ss Li ght wei ght Zoom LWZ-1 32
ARRI Vi deo Accessori es 33
Li ght wei ght Suppor t LWS- 4 33
Hand Crank HC-1 34
ARRIFLEX 435 Ti mi ng Shi f t Box 34
UMC- 3 Compat i bi l i t y wi t h Ci ne Tape Measure 35
Camera Confi gurat i on Over vi ews 35
ARRIFLEX D-20 at t he Muni ch Fi l m Fest i val 2005 36
Fi r st Ci nec Sal on i n Teheran Successf ul 38
Ci ne Gear 2005 39
Di gi t al Day Take 3
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Workshops i n Ki ew and Yal t a 40
BIRTV 2005
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Capi t al FX 42
Inter vi ew wi t h Peter Doyl e 44
ARRIL ASER HQ 46
Hi ghest Qual i t y Accordi ng to DCI Speci fi cat i ons
ARRISCAN Maki ng DI Workf l ow Happen 47
ARRISCAN / ARRIL ASER 48
Preser vi ng t he Qual i t y of t he Image i n t he DI Process
Shor t Cut i n Copenhagen 51
Fi r st ARRISCAN i n Russi a at Mosfi l m 51
Paci fi c Ti t l e 52
T HE ROBBE R HOT Z E NP L OT Z 54
Di gi t al Intermedi ate and t he New Lust re Gradi ng Sui te 56
Sat i sfi ed Li ons ARRI Says Thank You 59
ARRIBA t he Onl i ne Por t al 59
New Homepage 59
ARRIMAX 18/12 60
ARRI St udi o Cerami c 250 63
Pi ck Hi t Award at NAB for Cerami c 63
Paul McCar t hys Lal a- Land- Parodi e- Paradi es 64
Roger Dean Touches Down at ARRI CSC i n Ft. Lauderdal e 66
Il l umi nat i on Dynami cs Launches Movi ng Li ght Di vi si on 67
New Racki ng System for ARRI Li ght i ng Rent al Tr ucks 68
Congrat ul at i ons 68
A Sel ect i on of Current l y Ser vi ced Product i ons 70
ARRI Rental Germany ARRI Media ARRI CSC
ARRI Lighting Rental ARRI Visual Effects ARRI Commercials
ARRI Sound ARRI Lab TV Drama
Di g i t a l I n t e r me d i a t e Ca me r a
Wo r l d wi d e
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Size matters its not just the little things that can make life easier, as the new ARRIMAX demonstrates in a
truly impressive fashion. Its claim to fame is contained in its name. Simply speaking, it is the most powerful
HMI luminaire available in the market today. On set, this leads to some decisive advantages: where in the past
multiple units were required, and with them due to multiple shadows complicated lighting set-ups, a single
xture can save a lot of time and money. This has already been praised by Gaffer Michael Bauman in the rst
production deployment on the set of Steven Spielbergs MUNICH. On the other hand, the ARRIMAX clearly
shows just how much research, design effort and novel solutions go into the design of the new ARRI lighting
products. This ranges from obvious advances such as the novel reector design, which focuses without lenses,
to the new cooling concept, down to subtle improvements like the new damped mount of the protective glass.
Quality, long-term value and security of investment play an equally important role in all ARRI products. This is
especially apparent in the fast moving world of digital technology, where it holds true not only for the innovative
modular concept of the ARRIFLEX D-20 which was recently shown together with the new Master Primes to
widespread acclaim at the BIRTV in Beijing. It can also be found in the constant and dependable evolution of
existing product lines. In the ambitious DCI project (www.dcimovies.com), the future digital cinema standards
have clearly been dened in 4K resolution. This superior new standard will enable a viewing experience
unknown since the prevalence of 70mm cinema releases diminished to insignicance some 15 years ago.
However, the 4K/12 bit images will also act as a magnifying glass, relentlessly zooming in on every visual
shortcoming introduced by acquisition, post-production or distribution. For that reason, and as a response to
the elaborate and well-researched DCI Standard, ARRI has launched its own 4K+ Project. The goal of this
project is to review all of our camera and digital intermediate products in their respective applications and
make sure that they meet, or even better exceed, the 4K DCI recommendation. From the very beginning, the
ARRILASER has fullled 4K standards. Future HQ (High Quality) developments with e.g. substantially improved
MTF performance and continuous 16 bit color depth will not only reproduce the digital source master in DCI
quality onto lm but will even raise the bar a notch or two. With its novel concept, the ARRISCAN, too,
effectively demonstrates our understanding of a consistent, future-proof solution for the digital intermediate
eld. Offering 6K/16 bit native resolution, the ARRISCAN meets the 4K+ goal right from the start.
The experience we gain with our own lm and digital post-production operation, ARRI Film & TV Services
(www.arri.com/entry/services.htm), exposed as it is to real competition in every form, is invaluable. The DI
philosophy is not only preached it is practiced on a daily basis. Last spring, a grading suite that is surely
one-of-a-kind in Europe was installed at ARRI Film & TV Services in Munich. Here motion pictures can be
graded and viewed under practically authentic cinema conditions on a big screen with a Barco DP-100
digital projector, allowing them to be processed with a level of precision and quality that was never before
possible. The experiences gained for example in matching the color representation of the digital projection
to that of the nal cinema release not only directly benet the customers of our post-production services: this
know-how also ows back into the development and technical support of all our products such as the Color
Management System, that itself includes an ever-growing base of partners from other areas of the industry.
We are especially pleased by the long list of success stories that come back to us from our customers. These
range from the enthusiastically commented rst productions with the Master Primes to post-production with the
ARRISCAN in all corners of the globe on this note we wish you all an enjoyable read.
Klaus A. Feix Franz Kraus
Dear Fr i ends of ARRI ,
Klaus A. Feix Franz Kraus
3 E d i t o r i a l
After NAB and Cine Gear Expo various test
shoots took place with a pre-production
model of the ARRIFLEX D-20. The rst was
conducted directly after NAB when Bill
Lovell (ARRIs Product Manager for Digital
Cameras) was joined in Los Angeles by
three distinguished Directors of Photogra-
phy, Curtis Clark ASC (Vice President of the
ASC and Chairman of the ASC Technology
Committee), Walter Lindenlaub ASC and
Eric Adkins. Footage was shot exclusively
with available light at various locations and
in varying weather conditions around Los
Angeles from the famous Hollywood sign
and crowds along Hollywood Boulevard at
mid-day, to the Disney Concert Hall at dusk
and downtown LA at 11.00pm.
D-20 Test Shoots
R E V I E W
D-20
L OS A NG E L E S
4 C a me r a
This was also the rst test to use a pre-
production model of the ARRIFLEX D-20 with
prototypes of the high speed ARRI Zeiss
Master Primes, which not only offer higher
speed (with a maximum iris opening of
T1.3), but also offer higher resolution, better
contrast and virtually no breathing.
During shooting Clark worked closely with
Lovell to monitor the relationship between
his lightmeter and the waveform monitor.
Clark measured light levels while Lovell ob-
served the waveform monitor. This method
of working proved viable for those DoPs
who may not be comfortable with a wave-
form monitor. When asked about his overall
impression of the D-20, Clark remarked
The D-20 impressed me with its ease of use
and friendly feel. It is very much like a lm
camera, especially the superb optical view-
nder. In addition, the colour saturation and
highlight detail gave me new condence in
shooting with a digital camera that has these
tone scale and colour saturation capabilities.
Two further days of shooting took place on
the West Coast after Cine Gear Expo,
where Clark and Lindenlaub were joined by
John Fauer ASC at Venice Beach. High con-
trast exteriors were shot on and around the
beach using the Master Primes, an Ange-
nieux Optimo 24290 mm zoom, and for
the rst time with the D-20, the new extreme
wide angle ARRI Zeiss Ultra Prime 8R.
As well as traditional tripod work the D-20
was also used in hand-held mode, including
some wide angle shots featuring skate-
boarders and improvised dolly shots from a
rickshaw style bicycle.
Following the exterior shoot at Venice Beach
the D-20 was taken to the facilities of
Stargate Films, where Stargates owner and
expert SFX cinematographer Sam Nicholson
conducted comprehensive blue and green
screen tests. Nicholson and his team experi-
mented with various set ups and Look Up
Tables (LUTs), which are available within
the D-20, to determine the best settings for
blue and green screen. While his composit-
ing artists admired the quality of the keys
that they pulled from the images, Nicholson
was also impressed by the camera itself,
commenting, I love the feel of the D-20:
it feels like a regular, dependable ARRI
camera. The depth of eld and the lens
choice it gives are great, but the real ad-
vantage is the optical viewnder. Judging
focus is usually quite impossible on an
electronic camera, unless you have a
30,000 US dollar monitor with you. The
optical viewnder of the D-20 will essen-
tially save me real money. Focus is the one
thing that no one notices until it is out.
Things often get soft in HD and you cannot
tell. I would look to use the D-20 for some
high quality keying on set for virtual
backgrounds.
D-20 at Cine Gear Expo &
Cine Gear Expo Master Class
The pre-production model of the ARRIFLEX
D-20 proved to be one of the biggest draws
on the ARRI booth at this years Cine Gear
Expo in Los Angeles, where it appeared in
its most advanced version to date. During
the show, lm prints from some of the D-20
test shoots were screened in excellent view-
ing conditions in a screening theater at the
Warner Bros. lot.
Camera Assistant Joe Torres and cinema-
tographers Curtis Clarke ASC, Walter
Lindenlaub ASC and Eric Adkins with the D-20
Joe Torres (left), Bill Lovell (behind camera)
and cinematographer Curtis Clarke ASC (right)
during shooting at Venice Beach
SFX cinematographer Sam Nicholson
gets a shot with the D-20
Walter Lindenlaub ASC using the D-20 in hand-held mode
with a prototype of the ARRI Zeiss Ultra Prime 8R lens
5 C a me r a
The D-20 was one of the cameras featured
in the Master Class Seminar The High End
of Digital Image Capturing, which was
organised by Kess van Ostrum, ASC, and
Bill Bennett, ASC, on the day after the show.
With the aim to explore the different pal-
ettes we have at our disposal, the Master
Class provided the opportunity to witness
the practical testing current larger format
digital cameras, including the ARRIFLEX D-20,
Dalsa Origin and Panavision Genesis. An
ARRIFLEX 435 Xtreme was also used to shoot
35 mm lm as a reference.
Moderated by Bennett and Russell Carpen-
ter ASC, the Master Class was attended by
about 80 people. Each camera was used to
capture images of a young woman sitting
at a table in a variety of lighting situations.
Carpenter lit the set, cameras were oper-
ated by Thom Cox with Focus Puller Paul
Guglielmo, and David Darby supervised
lm processing and scanning. The set was
shot by each camera with key light on and
off, followed by a blue screen set-up, a
green screen set-up and then the same scene
lit exclusively by candles. The exposure for
the rst set-up at EI 400 was T2.8 and for
candlelight T1.3.
The ARRIFLEX 435 Xtreme, ARRIFLEX D-20
and Dalsa Origin used 40 mm and 100 mm
Master Prime lenses, while the Panavision
Genesis used Panavision-supplied lenses.
Both the ARRIFLEX D-20 and Panavision
Genesis recorded onto HDCAM SR tape
at 23.976 fps, in 4:4:4 mode, while the
Dalsa Origin recorded raw Bayer data onto
a hard disk array provided by Dalsa. The
435 Xtreme captured images onto three
different lm stocks: Eastman Kodak 5218
and 5229, as well as 5217 for the blue and
green screen set-ups.
Film from the 435 Xtreme was sent to be
processed by FotoKem and scanned at 2K
on a Spirit by Laser Pacic while the other
cameras were shooting. In the afternoon of
the Master Class, everyone met at Laser
Pacics 60 seat Lustre theatre, where all
the material was screened using a Christie
2K digital projector.
Images shot by Russell Carpenter at the Master Class, testing the ARRIFLEX D-20
to its extremes at EI 400 and T 1.3 to T 2.8
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Thom Cox with the cameras that took part in the Cine Gear Master Class
F.l.t.r.: ARRIFLEX 435 Xtreme, ARRIFLEX D-20, Panavision Genesis, DALSA Origin
L OND ON
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6 C a me r a
On-board
Recording
Solution for
ARRIFLEX D-20
ARRI have entered into an agreement
with Grass Valley to utilize their Venom
FlashPak recorder as an on-board
FlashMag for the ARRIFLEX D-20.
The FlashMag will further expand the
capabilities of the ARRIFLEX D-20 by
providing a portable recording solution
that allows the camera to be used with-
out a cable to a separate unit. A exible
bracket that can position the FlashMag
above or to the rear of the camera also
means that a variety of camera congu-
rations can be achieved.
The 112 GB recorder offers a capacity of
10 minutes of HD capture in 4:4:4 and
15 minutes in 4:2:2 mode at 25 frames per
second. The data from the FlashMag can
be transferred to a storage system such as
Sonys HDCAM SR VTR or the S.two
Digital Field Recorder disk based system
for longer term storage of images, or
delivery to a post house.
The ARRI FlashMag 112 will be
demonstrated for the rst time at IBC.
The reaction to the D-20s performance was
very positive. The open discussion of the
results with the professional community has
led to further improvements in image quality.
D-20 Around the World
The D-20 has also made many other appear-
ances, with test shoots in Germany and the
UK and a presentation to the ASC. ARRI was
invited along with other leading manufac-
turers to an evening at the ASC clubhouse
where there was the opportunity to make a
presentation and show D-20 material to
a highly critical but appreciative audience.
In the UK, the D-20 featured in a seminar
on HD & DI in Film & TV Production,
organised by the Production Guild of Great
Britain for its members. Held at the Warner
Bros. Preview Theatre in London, which was
equipped with a Barco DP-100 2K projector
supplied by ARRI Media, the evening includ-
ed a presentation by Bill Lovell and Milan
Krsjlanin of ARRI Media on HD shooting
options and Peter Doyle, a Senior Super-
vising Colourist who has worked on many
The Venice Beach test team
(standing, f.l.t.r.): Joe Torres,
Walter Lindenlaub ASC, Curtis
Clarke ASC, Stephan
Ukas- Bradley, (sitting, f.l.t.r.):
Bill Lovell, Andreas Weeber,
Thomas Greiser, Gnther Zh
In the middle:
DoP Zhao Xiaoding (HOUSE OF
FLYI NG DAGGERS, HERO)
PHOTO COURTESY OF JON FAUER, ASC,
FROM THE FILM AND DIGITAL TIMES (WWW.FDTIMES.COM)
Warner Bros. Productions, spoke about and
demonstrated DI colour grading capabilities.
Other events where the D-20 has featured
during the summer have included:
a Digital Day in Los Angeles, organised
by the Directors Guild of America,
two weeks of test shoots organized by
NAC in Tokyo with their clients Tohokush-
insha Film Corporation and Image Studio
109, Inc, including work on a commercial
high-end television drama,
two test shoot days with Professor Mu
Deyuan and his colleagues at the prestig-
ious Beijing Film Academy, prior to the
BIRTV show in Beijing, China.
Reecting on recent activities with the D-20
Bill Lovell summarizes, The gradual intro-
duction of the D-20 through pre-production
units is a challenging, but very worthwhile
exercise. It is allowing us to gather invalu-
able feedback from users that will help to
shape future ARRI digital camera products.
We are looking forward to offering the D-20
for rental later this year.
The resolution of details in the dark areas
is phenomenal. The skin tones are now, like you
know them from lm.
DoP Zhao Xiaoding
( HOUSE OF FLYI NG DAGGERS, HERO)
7 C a me r a
Camera Assistant
Kaspar Kaven and
DoP Sascha Mieke
check the lens
(f. l. t. r.:) Balloonist
Stefan Rckl, DoP
Sascha Mieke,
Digital Technician
Andreas Berkl
ARRIFLEX D-20
on a Hot Ai r Bal l oon Ri de
( AL MOST )
EI GHT
MI L ES
HI GH:
With summer nally arriving in the foothills of the Bavarian Alps, it was
decided to shoot some spectacular footage with the ARRIFLEX D-20.
High contrasts, subtle movements and lots of ne details were the goals.
So why not take the camera on a balloon ride to really challenge the
D-20s capabilities?
8 C a me r a
The balloon did the panning ... Moments before take-off DoP Sascha Mieke
DoP Sascha Mieke framing the shot,
Digital Technician Andreas Berkl
checking the waveform monitor and VTR
Some minutes before touch-down
The tree to the left comes really close...
own axis. This rotation was in most of the
cases extremely smooth and slow so some
very nice shots where possible with this
unusual camera support device.
On the other hand the basket itself reacted
very sensitively to even the slightest move-
ments of the passengers or other distur-
bances almost like a pendulum. Thus
longer focal lengths were critical and most
shots where done in the range from between
25 and 70 mm. Adjustment of the uid
head level was a constant challenge to the
lm team. The bowl head/tripod combina-
tion nevertheless provided a fast way to
level the head. A at-based head/tripod
would have caused many more problems
considering the limited space inside the
basket.
One and a half hour later and some 15
kilometers of travel the balloon touched
down smoothly close to a small village
after missing a nearby tree by only a
couple of meters.
The resulting footage shows some very un-
usual images from a birds-eye view with
rich details and colors, another convincing
addition to the D-20s growing portfolio.
Andreas Berkl
For simplicity DoP Sascha Mieke chose a
Cooke Cine Varotal 25-250mm lens since
changing lenses up in the air seemed a bit
cumbersome and risky. A SONY SRW-1
HDCAM SR VTR was used to record the
images from the D-20. The capability to
capture about 50 minutes on a single
tape was ideal for this type of shooting.
Additionally an ASTRO combined wave-
form/picture monitor allowed the verica-
tion of correct exposure and evaluating
the images while shooting.
After a couple of days of waiting for
suitable weather conditions the balloon
ride was conrmed for Friday, June 3
rd
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The lm team met the balloon crew at 5:30
a.m. After about half an hour of driving to
the starting location close to Bad Aibling,
south- east of Munich, both the balloon
and the camera/VTR were prepared for
take- off in the morning mist. The basket
of the balloon was designed for up to
ve persons including the balloonist/pilot
on an area of about 1.60 x 1.20 meters.
After setting up the tripod, camera, bat-
teries and VTR in that tight space it was
obvious that the balloon could only be
manned by three persons, the balloonist,
the DoP and the VTR-operator/Digital
Technician. Camera assistant Kaspar Kaven
joined the ground crew to track the balloon
on its way through the morning air.
After a spectacular take-off in the morning
light at about 7:00 a.m. the D-20 was on
the stairway to heaven.
Flight altitude was up to approximately
600 meters, most of the time at about
100-200 meters and in some cases literally
almost level with the treetops. A mild wind
from the Alps gently blew the team north-
wards over elds, forests, small villages
and farms.
Due to the limited space in the basket, it
was hardly possible for DoP Sascha Mieke
to do pans exceeding about 60 degrees
in total. Fortunately the balloon offered the
possibility to rotate completely about its
9 C a me r a
The balloon did the panning ...
First Master Primes in Use
Here is one of the first real world test
images taken with a Master Prime
prototype. This image of beautiful
Katherine Beer shows off the Master
Primes ability to see deep into
shadows as well as their resistance
to flares.
Since the end of August we have begun shipping Master Primes and, together with the Master Prime prototypes,
these lenses are already being used on various productions. Even though it has been difcult to get a hold of
anyone because they are all out shooting, here are some comments from the very rst Master Prime users.
Unique for high speed lenses is the
fact that the Master Primes retain their
high image quality over the whole
T-stop range, from low light / low
contrast to high light / high contrast
scenes, like this car commercial shot at
the Mammoth ski resort in California.
10 C a me r a
In the United States, Michael Ballhaus
( GANGS OF NEW YORK, BRAM STOKERS
DRACULA, GOODFELLAS) is currently shoot-
ing a feature film called THE DEPARTED,
directed by Martin Scorsese (THE AVIATOR,
GANGS OF NEW YORK, GOODFELL AS).
Mr. Ballhaus is using Master Primes, Ultra
Primes, ARRI CAMs and 435 cameras.
Jack Nicholson, Leonardo DiCaprio, Matt
Damon, Mark Wahlberg, Alec Baldwin
and Martin Sheen headline this remake of
a 2002 Hong Kong hit film, revolving
around the rivalry between the Boston police
force and a gang. A gangster infiltrates the
police force while a young police officer
infiltrates the gang. Suddenly the race is
on to uncover each others identities.

Michael Ballhaus commented on his use of
the Master Primes: The film called for many
low light set ups, including location street
scenes at night with very little light to work
with. I chose the Master Primes in order to
work with the available light and to preserve
the natural look of the scenes. On several
occasions the Master Primes saved last
minute setup changes, late in the day, when
the daylight was disappearing. These scenes
would not have been possible to shoot
without these lenses. I am truly impressed
with the optical performance of the Master
Primes. The production company is also
extremely impressed with the Master Primes,
as they saved on setup time, personnel,
lighting and grip equipment needed to
accomplish these delicate shots. Technical
support for this feature is provided by ARRI
CSC in New York.
From June 2005 on, a number of Master
Prime prototypes were used by cinematog-
rapher Frank Griebe ( HEAVEN, RUN LOLA
RUN) on the feature film PERFUME: THE STORY
OF A MURDERER. This film is an adaptation
of the book by Patrick Sskind that has sold
over 15 million copies world wide and has
been translated into 42 languages. The film
is directed by Tom Tykwer ( HEAVEN, RUN
Michael Ballhaus on the set of THE DEPARTED with
a 35 mm Master Prime and an ARRICAM Studio.
11 C a me r a
LOLA RUN) and produced by Bernd
Eichinger (THE FANTASTI C FOUR, NOWHERE
I N AFRI CA, THE NAME OF THE ROSE). It is a
Constantin Film production, starring Dustin
Hoffman, Corinna Harfouch, Alan Rickman
and Ben Whishaw. It is the story of Jean-
Baptiste Grenouille who develops a superi-
or olfactory sense, which he uses to create
the worlds finest perfumes. His work, how-
ever, takes a dark turn as he commits hor-
rid crimes in search of the perfect scent.
Cine matographer Frank Griebe started out
with just a few of the first Master Prime pro-
totypes, but liked them so much that he
requested to have the missing focal lengths
immediately sent to the set when they
became available. He notes: I am very
excited about the speed, resolution and
brilliant image quality of the Master Primes!
The large selection of focal lengths, the
pleasant focus behavior and the sharpness
cannot be beat by any other lens. I also
appreciate the perfectly round iris, which
provides an organic feel for this historical
feature. In my opinion, these are the lenses
of the future. Presently, Mr. Griebes first
unit is shooting with an almost complete set
of 11 Master Primes to complement the
ARRICAMs, 435 and 235 cameras they
rented from ARRI Rental Germany in Munich,
while the second unit has a few Master
Primes of their own.
The honor of the very first professional pro-
duction falls to Bill Bennett, ASC. He not
only shot the famous candlelight test images,
but also used the Master Primes on a
Suzuki car commercial, where he was
shooting a car on snow in the blazing sun
on top of a mountain at the Mammoth ski
resort. The Master Primes perform
extremely well in low light, but they are so
flare-less, that they work equally well in the
blazing sunlight. You have created a truly
universal set of lenses, usable in all lighting
conditions, from the darkest scenes to the
brightest, Mr. Bennett reported.
Aside from having supplied Master Primes
to various commercials already, ARRI
Media in London is providing ARRICAMs,
435 cameras and Master Primes for the
feature film SUNSHI NE, directed by Danny
Boyle (28 DAYS LATER, A LI FE LESS ORDI NARY,
TRAI NSPOTTI NG). Cinematographer Alwin
Kchler ( PROOF, CODE 46, THE CLAI M) was
nice enough to give us his first impressions
of the Master Primes, while his assistants
Ollie Tellett and Pete Byrne were checking
out the camera gear. Mr. Kchler said In
our tests with the Master Primes I was very
impressed with their resolution and contrast.
One scene especially comes to mind,
where we shot a test in a corridor lit all in
red. Now red is a difficult color to capture
and reproduce, and we shot at T1.3! The
Master Primes showed so much detail it
was amazing. I also plan to use low light
levels and a lot of practicals, so the widest
stop of T1.3 will come in very handy. I am
very enthusiastic about the Master Primes.
Andy Subratie, Head of Camera Operations
at ARRI Media adds: The response to the
Master Primes is amazing. Our customers
love the look and the feel, but most of all
they like the optical performance. Everyone
who has shot with them has been very
impressed. We have a lot of requests for
the Master Primes, and we are trying to
get more lenses now that lens production is
ramping up.
Marc Shipman-Mueller
Focus Puller Ollie Tellet (left) and
2nd camera assistant Pete Byrne (right)
during the prep for SUNSHI NE.
Cinematographer Frank Griebe (with hat), director Tom Tykwer (with monitor),
Steadicam operator Jrg Widmer and camera assistant Leah Striker follow Ben Whishaw
with an ARRI CAM Lite and a Master Prime through the fields of the Provence.
12 C a me r a

Marc Shipman-Mueller: Christian, what is

your impression of the Master Primes?
Christian Almesberger: The Master Primes
are spectacular. We shoot most of the time
with the 27, 50, 75 and 100, but having
all those different focal lengths is fantastic.
It was a good idea to develop all 12.
Having this huge spread of lenses, with all
the in-between focal lengths, is a great
advantage for us, and we have used and
needed all of them. As you know, PERFUME:
THE STORY OF A MURDERER is a historical
film, and that often limits where we can put
the camera. Some times we simply cannot
move the camera any more forward or
backwards, and to be able to then put on
the perfect lens is great. For this kind of
film all those different focal lengths makes
a lot of sense.
MSM: How do they perform for you, as a
focus puller?
CA: I love the scales on the focus ring.
They are very good and the numbers are
very easy to see. I think it is great that all
Master Primes have the same size and
front diameter and that the focus and iris
rings are in the same place. I also like
where the focus and iris rings are posi-
tioned, it makes working with follow focus
and lens motors very easy. The whole
ergonomics are very well thought out.
I also feel that the Master Primes have a
very organic focus fall off. It makes for a
very pleasant image to look at, this is
something I have always liked about the
Cookes. In that respect the Master Primes
perform like the Cookes, I very much
appreciate this. I also think it makes focus
pulling easier, there is no sharp drop off,
no point when all of a sudden the image is
out of focus, but rather a gentle change
from in focus to out of focus. This makes
my job easier, even though they are T1.3
lenses.
MSM: Why were the Master Primes chosen?
CA: Tom and Frank (director and cinema-
tographer) chose these lenses for a variety
of reasons, but two things they really liked
were the nice out of focus highlights and
their resistance to flare. The out of focus
highlights are important for a certain image
quality, a soft, natural looking image. And
the resistance to flare is also very impor-
tant for us. We have some complex CGI
work that has to be done with lights actually
in the frame. Having lots of flares in the
lens would affect the whole frame and be
a big problem. But the Master Primes are
amazing. We did a lot of tests with lights
that are in the shot, pointing directly into
the lens. It was surprising how well the
Master Primes were able to handle this.
You can place soft or hard lights directly
into the frame, and there are no flares.
And resolution and contrast are outstand-
ing. This will make post production much
easier.
MSM: At what stop do you work on this
show?
CA: We shoot usually at T2 or T2.5, those
are our standard stops at night, and we
get an outstanding image quality from the
Master Primes at those stops. When we
shoot daylight we shoot at T5.6, and
that looks equally good.
MSM: Are you using any other primes in
addition to the Master Primes?
CA: No. Both first and second unit use
Master Primes. We have 11 Master
Primes on the first unit, all focal lengths
except the 65 mm, which is not ready
yet, we were told, and the second unit
also has some Master Primes. Why
should we use other prime lenses when
we can shoot everything with the Master
Primes?
MSM: And what cameras are you
using?
CA: An ARRICAM Studio is our A cam-
era, an ARRICAM Lite is the B camera
and our Steadicam camera, we use a
235 for hand held and special rigs and
an ARRI Wireless Remote System. All
cameras are shooting 3 perforations.
The 235 really is a handy little camera.
We have, for instance, something we
call the Nose cam. It is a 235 mounted
to a parachute helmet, and the camera
looks into a mirror that shows the actors
nose. So we can shoot the nose as the
actor is moving around naturally.
MSM: Thank you for this interview.
We were lucky to reach Christian Almesberger, first cam-
era assistant on PERFUME: THE STORY OF A MURDERER, who
was on his way to a location in Spain while talking to us
on his cell phone.
Inter view with
Christian Almesberger
13 C a me r a
XP
T* XP Master Primes Get a new Lens Coating
Technology
While two sets of Master Prime prototypes were being used in various test shoots
earlier this year with very positive results, Zeiss has been hard at work in their
labs in Oberkochen, Germany, secretly designing yet another technology to
enhance the already outstanding image quality of the Master Primes: The T* XP
(Extended Performance) anti-reex coating.
Mast er Pr i mes Technol ogi cal Benef i t s
The Master Primes prototype tests have now been completed, and what
has been learned during the tests has been incorporated into the nal
product that has been shipping since August 2005. In addition to a very
positive response we have also received many questions on the different
technologies, new and proven, that are used in the Master Primes.
To answer those questions we have assembled a list of the main technol -
ogies and their direct benet.
Still in development, but available soon, are the Master Diopters, which
are a set of three diopters (+0.5, +1 and +2) that are optically matched
to the Master Primes, but can also be used with many other lenses. Due
to the achromatic lens design of the +1 and +2 Master Diopters, they
are of a signicantly higher optical quality than traditional diopters, and
thus match the high quality standard set by the Master Primes.
14 C a me r a
XP
The Master Primes are high speed lenses, replacing the venerable
Zeiss Super Speed lenses which were awarded a technical Academy
Award in 1987.
The Master Primes produce a substantially improved picture at T1.3
with even illumination across the entire frame and no visible light fall-off
towards the corners.
Other high speed lenses tend to have a sweet spot when stopped
down 2 3 stops from the widest opening; they are when wide open
and their optical performance deteriorates when stopped down.
The Master Primes have been designed to exhibit their high optical
performance over the entire T-stop range, so a candle lit dinner scene
at T1.3 will look as good as a high contrast shot in the snow at T22.
The Master Primes at T1.3 have a signicantly better optical performance
than other modern 35 format primes lenses at T2.
At their close focus range, the Master primes exhibit high resolution
and contrast, and negligible geometric distortion and minimal chromatic
aberration.
Both Ultra Primes and Master Primes have oating elements. A decrease
in optical performance at close focus with other lenses is most noticeable
in the corners and at wide open apertures.
High speed T1.3
Consistent optical performance
over the entire T-stop range
based on most of the technologies
mentioned below
Floating elements
Shoot in low or available light,
reduce lighting budget,
get more natural looking shots,
shallow depth of eld
Shoot in any lighting situation
with great results
Excellent close focus optical
performance
T* XP Master Primes Get a new Lens Coating
rst coatings were single layer coatings,
which optimized transmission for one color
only, leading to an uneven transmission
behavior across the color spectrum. A
signicant improvement was introduced in
the 70s when multilayer coatings were
introduced, offering a further reduction in
reectance from glass-air surfaces in a
broader spectral range. A highly sophisti-
cated version of this technology is the Zeiss
T* coating used in the ARRI/Zeiss Ultra
Primes and Variable Primes. For the Master
Primes the T* coating has now been rened
even further, resulting in the T* XP coating.
To achieve the excellent image quality of
the Master Primes even at T1.3 and to elimi-
nate breathing, the number of lens elements
had to be substantially increased. This could
have lead to a decrease in light transmis-
sion and an increase in various false light
effects such as veiling glare, are and
narcissism. Instead, the new T* XP coating
as well as other measures allow a greater
light transmission, and the false light effects
Benet Notes Technology > > > > > > >
Anti-reex coatings have proven to be one
of the most important inventions in modern
optics. By reducing the natural tendency of
glass-air surfaces to reect a portion of the
incoming light, these coatings ensure that
the maximum amount of light reaches the
lm, instead of being reected away from
the lens surfaces or, worse, bouncing
around inside the lens. Especially modern
lenses with their large number of single
lens elements would otherwise not be able
to transmit enough light to the lm. At the
same time, anti-reex coatings suppress
false light (internal reections including
veiling glare, are, narcissism), resulting in
higher contrast and deeper blacks in the
image. Last but not least, they are an impor -
tant contributor to proper color balance.
Thanks to modern anti-reex coatings we
are used to brilliant images in almost all
lighting situations on the lm set.
First developed in the Carl Zeiss laborato-
ries in 1935, anti-reex coatings found
widespread adoption after 1945. These
15 C a me r a
Technology
This graph shows the reflectance of a lens sur-
face with a conventional anti-reflex coating
at different frequencies of the light spectrum.
Notice how the red line, which represents the
reflectance at the edge of a strongly curved
lens, indicates a severe increase in reflect-
ance starting at 580 Nanometers.
have been attenuated even below the level
of other modern cine lenses. Thus the
Master Primes can catch subtle tones in the
deepest shadows and fully utilize the high
dynamic range of modern lm stocks.
The T* XP coating is optimized with respect
to the spectral sensitivity of motion picture
lm and the sensitivity of the human eye.
Additionally the color of any remaining minor
ghosting effect is magenta instead of green,
which is considerably less noticeable on lm.
A disadvantage of conventional multilayer
coatings was their application on large,
strongly curved surfaces. On this type of
surface the spectral reectance of the
coating usually shows a variation, so that
its optical and mechanical performance
close to the lens edge becomes worse than
its performance closer to the optical center.
Compared to conventional multilayer
coatings the T* XP coating has a more
uniform performance across the lens from
optical center to the edges; in fact the
T* XP coating has up to ve times better
transmission at the edges.
Designing an anti-reex coating formula
that ensures maximum light transmission in
Breathing is dened as a change of a lens angle of view during a focus
pull. The Master Primes are the rst set of prime lenses that show virtually no
breathing thanks to the Dual Floating Elements (patent pending) technology.
To achieve an undistorted geometry (so called correct rectilinear perspective,
which is especially difcult to achieve in wide angle lenses), all Master
Primes use aspherical lens elements. These are produced with an extremely
elaborate polishing processes, and they must be tested with a complex
holographic technique. Aspherical lenses can be made smaller, lighter and,
in general, better than similar lenses which employ only spherical elements.
Aside from simply better and more natural looking images, no geometrical
distortion also means that it is much easier to combine footage shot with the
Master Primes with computer generated elements.
For higher levels of chromatic correction, both elaborate optical design, as
well as exotic glass types with anomalous partial dispersion, like uor crown
and barium dense int are required. Some of these exotic glass types are
almost as heavy as steel, some as expensive as gold, but together they
ensure the high accuracy with which chromatic aberrations are corrected in
the Master Primes.
The absence of color fringes helps in blue or green screen work, as it provides
cleaner edges.
Excellent close focus optical
performance AND no
breathing
No geometric distortion,
less weight, no color fringes
No color fringes
(= no chromatic aberration)
Dual Floating Elements
(patent pending)
Aspherical lens surfaces
Exotic glass materials
Notes Technology Benet
>>> Mast er Pri mes Technol ogi cal Benef i t s cont i nued > > > > > > > > > > > > > >
16 C a me r a
Conventional Coating on Strongly Curved Surfaces
R
e

e
c
t
a
n
c
e
380 480 580 680
nm
middle of the lens edge of the lens, 45 inclination
This graph shows the reflectance of a lens
surface with the T* XP anti-reflex coating at
different frequencies of the light spectrum.
Notice how the red line, which represents the
reflectance at the edge of a strongly curved
lens, essentially follows the green line, which
represents the reflectance at the center of
the lens.
a wide spectrum of wavelengths is one
part of the high art of anti-reex coatings.
The second part is the equally tricky art of
applying the coating in the proper and
even thickness onto the lens elements. Zeiss
uses a carefully monitored, elaborate proc-
ess in high vacuum where special optical
substances are evaporated one after the
other and deposited on the lens surface
with precisely controlled thickness. For the
T* XP coating this process was further rened
to assure a perfectly even and symmetrical
application of the lens coating.
The design of the new T* XP anti-reex
coating and its sophisticated application
techniques are yet another technology that
contributes to the outstanding optical
quality of the Master Primes. What counts
in the end, of course, are the new creative
option these technologies allow the
cinematographer, are the images on the
screen. So we are now looking forward to
the new and exiting visuals cinematogra-
phers world wide will be able to produce
with these new lenses.
Hubert Nasse/Zeiss
The larger barrel of the Master Primes allowed for a mechanical design
that incorporates various light traps to keep unwanted light from bouncing
around inside the lens.
Carl Zeiss uses several types of proprietary black paints with different
refractive indices to blacken lens element rims with maximum light
absorbing effect.
Accomplished through choice of glass, the Zeiss T* XP anti-reex coating
and other measures, all Master Primes are super color matched to each
other and to the other lenses in the ARRI/Zeiss lens program, including the
Ultra Primes, Ultra 16 prime lenses and the Lightweight Zoom LWZ-1.
More lens elements than in most other lenses lead to an improved optical
performance across the board.
Traditionally, standard speed lenses have a range from T2 to T22, and
high speed lenses have a range from T1.3 to T16. The Master Primes not
only have an extended range from T1.3 to T22, but they also offer superb
optical quality over that whole range.
Higher contrast, deeper blacks
Higher contrast, deeper blacks
Shots from one lens match shots
from another in colorimetry
Better overall optical quality
(resolution, contrast, geometric
distortion, chromatic aberration)
Shoot night or day, low key or
high key with the same lens set
Internal light traps
Strategically painted lens rims
Super color matched
Multiple lens elements
Extended iris range
Technology Benet Notes Notes
>>> Mast er Pri mes Technol ogi cal Benef i t s cont i nued > > > > > > > > > > > > > >
17 C a me r a
T*XP Coating on Strongly Curved Surfaces
R
e

e
c
t
a
n
c
e
380 480 580 680
nm
middle of the lens edge of the lens, 45 inclination
In April of 2005, Bill Bennett, ASC was
handed the rst prototype of the Ultra
Prime 8R lens for tests. This was a tting
honor, as Bill had been instrumental in the
conception and specication of this unique
lens. Since images speak louder than any
specications we could list here, and since
we have all the specications on the Ultra
Prime 8R web page anyway, above are
some screenshots from this shoot. A short
corresponding video clip can be down-
loaded from our website.
How did they do that?
Below some comments and making-of stills
by Bennett regarding the motorcycle shoot:
These Motocross scenes are the best exam-
ple of how the Ultra Prime 8R can put the
viewer right in the middle of the action and
of the extreme dynamic look it will give you.
Knowing that in previous tests I had already
done the sedate and safe shooting with
the lens of the buildings in downtown LA
from the top of the car, the freeway inter-
change from the front of the car and the
hand held material in the train station and
on the beach, I decided to go all out and
create some very dynamic footage.
We mounted the camera and lens on the
back of Alan Padelfords Maverick
miniature camera car, built around a
Yamaha V-Max motorcycle power plant.
The water cooled V-twin engine has a
1,200cc displacement, putting out 120
horsepower. It utilizes a Porsche transaxle
and custom off-road rally-car suspension,
with Michelin rally tires. The chrome-moly
steel tube frame chassis was totally custom
built by Alan to join the Yamaha bike frame
to the rest of the components. Alan is one
of the best camera vehicle drivers in the
world. He had driven high speed camera
cars for many big racing movies like DAYS
OF THUNDER.
WI DE & STR AI GHT
ULTR A PRI ME 8R TESTS
When a group of rental house owners and cinematographers got together
with some ARRI folks at the NAB in 2003 for a users group meeting,
none could have guessed that this meeting would lead directly to a new
product. Born from this meeting and a desire to expand the range
of the Ultra Prime lenses, a new wide angle lens was developed by ARRI
and Zeiss, the Ultra Prime 8R.
UP8R
DoP Bill Bennett
from left to right: Craig Devereux, Bill Bennett,
ASC, Alan Padelford, Craig Conaway, Scottie Niel
The Maverick rig with the ARRIFLEX 435 attached
18 C a me r a
Lets just say this with a camera mounted
and two people on board it is very fast!
When we were chasing the motocross
drivers on the mountain dirt roads, Alan
had the machine in a constant 4-wheel drift,
steering and pointing the camera using the
throttle. That was fantastic, as you can see
from the footage. I was riding along,
looking at a small LCD video tap monitor.
What I was seeing on the monitor was
amazing, but when I looked up at the real
world and saw just how fast we were
going, inches from these speeding
motocross bikes, drifting right on the edge
of a bottomless cliff, it scared the hell out of
me! My solution was to look back at the
monitor, and just ignore the outside world!

To get the dynamic images you see here,
we had to place the lens extremely close
to the speeding motorcycles. We had the
camera mounted on the end of 6 foot
WI DE & STR AI GHT
ULTR A PRI ME 8R TESTS
(2 meter) pipes, attached to the chassis
with Speed Rail ttings. Placing the camera
out away from the camera car allowed
Alan to stick the camera up next to and
between the riders, just inches from them,
to get these extremely aggressive shots.
I do remember that Alan admitted at one
point that he was scaring himself too on
occasion. At the end of one particularly
close run, he said to me, I dont think I
want to do that again! We had to admon-
ish the motocross riders to not look back at
us, because they would unconsciously lift
out of the throttle just a wee bit, and would
back into our camera, which was inches
behind them at the time.
We shot the lens at T11, with the focus set
at 2 meters, (6' 6") using a Schneider ND9
lter, with a clear lter in front to protect
the ND lter and the lens from rocks. We
rolled the 435 at 20 fps, for an intended
projection or transfer rate of 24 fps. For
some of the shots, we did a speed ramp,
while the camera was rolling, from 20 fps
to 96 fps. When we were doing the speed
ramping, we changed the ND lter to an
ND.3 and set the aperture to T5.2. When
the camera initially rolled at 20 fps, the
internal computer set the shutter angle to
37.5 degrees to compensate for the extra
light, giving the skinny shutter look to the
low frame rate portions of those shots.
When I ramped towards 96 fps, the shutter
angle automatically compensated until it
was 180 degrees at 96 fps. The lm stock
used was Eastman 5246-250D.
Bill Bennett
19 C a me r a
The ARRI Lens Data System collects essen-
tial lens and camera information and
displays it to the camera assistant either on
a dedicated remote display or on the video
assist. This information includes focus, iris,
zoom, depth of eld, hyperfocal distance,
close focus, fps, shutter, battery voltage,
footage, lmstock reserve, take length,
etc. The LDS can speed up work and assist
the camera crew when the camera is in a
remote situation (like a crane, Steadicam,
car rig, etc.), in critical focus situations to
see if an actor was within the depth of eld,
for faster speed/iris ramp setups and as
an accurate video tape log for second unit
work, re-shoots and pick-ups.
Originally available only with the ARRI-
CAM system, the Lens Data System has
been continually expanded to include other
cameras like the ARRIFLEX 435 Xtreme.
Now two scalable and compatible options
have been added that expand the system
to any camera and any lens: the Lens Data
Mount and the Lens Data Archive.
The Lens Data Mount can update non-LDS
lenses, including most zooms, to work with
LDS cameras like the ARRICAM Studio,
ARRICAM Lite or ARRIFLEX 435 Xtreme. By
exchanging the PL mount of a lens for the
LDS Data Mount, which has an embedded
miniature chip and LDS contacts, this lens
can be used with the LDS system as long as
lens motors are used. Using an Lens Data
Mount preserves the abilit y to change
lenses quickly, as the camera recognizes
the lens automatically.
The Lens Data Mount Standard LDM-1
mounts instead of the standard ARRI/Zeiss
PL mount. It is compatible with Ultra Primes,
Variable Primes, Standard Speeds, Super
Speeds and any other lenses that can
accept the standard ARRI/Zeiss PL mount
(K5.35204.0).
The Lens Data Mount Intermediate LDM-2
mounts instead of an intermediate mount.
It is compatible with the Angnieux Optimo
The Lens Data Mount
Intermediate LDM-2
The Lens Data Mount
Standard LDM-1
A regular Super Speed lens
with the Lens Data Mount
Standard attached
Ident Numbers:
Lens Data Mount Standard LDM-1 K2.52254.0
Lens Data Mount Intermediate LDM-2 K2.52272.0
With the Lens Data
Mount, many popular
zooms, including the
24-290 Optimo, can
become part of the
ARRI Lens Data
System
The Lens Data Mount (LDM) allows most Lens Data System (LDS)
features to be used with ARRI LDS cameras and the vast inventory
of existing lenses.
24-290, Angnieux 17-102, Angnieux 25-
250, Cooke 25-250, Cooke 18-100, Zeiss
Apo Tessar 300 and a wide range of other
lenses that use the same intermediate mount.
Lens Data Mounts for other lenses can be
supplied on demand.
Marc Shipman-Mueller
L ENS DATA M O U N T
2 0 C a me r a
Selecting a lens can be easily done from a series of screens on the LDD-FP
UMC-3
Wireless
Lens Control
System
Wireless
Lens Control
System
ARRICAM Studio
ARRICAM Lite
435 Extreme
Lens Data Box or
FEM-2
Lens Motor
Any Camera
Lens Motor
Any Lens Any Lens
The Lens Data Archive allows the use of LDS features with any camera and any lens
After each lens change, the lens type must
be selected from a pre-programmed menu
on the LDD-FP. Once the lens motors are
calibrated, the system can display LDS in-
formation on the LDD-FP.
The Lens Data Archive also allows LDS cam-
eras to use non-LDS lenses, as shown in the
diagram to the right.
The great advantage of the Lens Data Ar-
chive is that it works with any camera and
any lens, wired or wirelessly. However, in
contrast to LDS Ultra (LDS lenses with LDS
cameras) it does not support manual follow
focus, camera status infor-mation and video
insertion. Lens Data Archive functionality
is already part of the latest software for the
ARRICAM Studio, ARRICAM Lite, ARRIFLEX
435 Xtreme, LDD-FP and UMC-3.

Even non-LDS cameras like the 235 can
enjoy basic LDS features with the Lens
Data Archive.
The Lens Data Archive provides basic LDS features for any
camera with any lens, as long as the ARRI Lens Data Display
for Focus Puller (LDD-FP), the Universal Motor Controller UMC-
3 and lens motors are used.
L ENS DATA A R CH I V E
21 C a me r a
Out in the Cold
When rst camera assistant Ted Overton got a call from cinematographer
Anthony Richmond, ASC, BSC (A CI NDERELLA STORY, SHADE) to work on
the feature lm J UST FRI ENDS, Overton jumped at the chance. When he
learned shooting would occur in Regina, Saskatchewan at the height of winter,
Overton was a little hesitant. I have always enjoyed working with Tony
and I would go anywhere in the world for the opportunity to do it again, but
the Canadian prairies in January and February! This was going to be proof of
willingness and proof of the equipment that we would be taking, he says.
JUST FRIENDS was directed by Roger Kumble
and produced by Benderspink and Innity
Media, Inc. The lm follows Chris (Ryan
Reynolds), a man rejected by his true love
who moves across the country to transform
himself into a selsh womanizer. The cast
includes Amy Smart, Chris Klein and Anna
Faris. Additional locations were also shot
in Los Angeles.
To help translate the relationships between
the characters onto the screen, Richmond
chose a camera package that would taste-
fully render images and perform well in
Canadas extreme climate. The camera
package included an ARRICAM Studio, an
ARRICAM Lite and an ARRIFLEX 435. For
lenses, the production had two complete
sets of Cooke S4 primes and Angenieux
Optimo long and short zooms. With actors
and crew depending on the camera equip-
ment to perform when needed, keeping
these important tools warm was a serious
priority. The ARRICAMs did exceptionally
well in the cold outdoor conditions that we
were working in, notes Overton. The
temperature was rarely above 20 deg-
rees C (-4 degrees Fahrenheit) and more
often closer to 40 and lower (-40 deg-
rees Fahrenheit). On the day that we ew
into Regina our second assistant David
Rumley looked at the weather map in the
newspaper and saw that the only place
colder in Canada that day was the town of
Iqualuit, north of the Arctic Circle. The next
day the lift on the back of our camera truck
could not be lowered because the hydraulic
uid had frozen.
To deal with the low temperatures, the
camera crew kept equipment inside and
warm for as long as possible to reduce the
time exposed to the cold. Outside, if a
camera or head was not being used, the
item would be immediately covered with
an electric blanket. These extra precautions
made the cameras ready for shooting, but
the equipments design also played a large
part in allowing the production to run with-
out interruption. Both the ARRICAM came-
ras and the magazines are designed so
that their motors will heat the camera when
they are detecting very cold temperatures
and when they are not running. he notes.
Specialty items made by Clairmont Camera
were also brought along to help deal with
the cold weather. Ted Overton further ex-
plains, Denny Clairmont ingeniously de-
signed an insulated magazine case that we
could connect to a 24-volt battery in order
to power the magazines before they were
put on the camera. This supplied power to
the magazines heater even when the
magazine was not on the camera. With
Dennys case we could keep the magazines
warm before they were put on the camera.
The production also used ARRIHEADs, since
the smoothness of a gear-head is the rst
choice of A camera operator, Candide
Franklin and B camera operator, Roger
Finlay. The ARRIHEADs performed well in
all but the most extreme cold. At the lowest
temperatures we experienced a loss of
smoothness in the pan. Clairmont was
great in supporting us with detailed
instructions on how to loosen the pan and
this helped, notes Overton.
Out in the Cold Out in the Cold
Tony Richmond, ASC, BSC, takes a reading from his light meter in front of actor Ryan Reynolds
2 2 C a me r a
First AC for B camera Dean Frank became
very adept at creating heating systems for
the heads. Frank used a combination of
hand-warmers, reective insulating tape
and deconstructed heating pads to create
heating systems that kept everything work-
ing.
We had a hard lesson the rst night out-
doors when we had to heat up a head with
an open face 2K lamp to get it functioning
again. With the exception of when we were
in the worst cold, the ARRIHEAD worked
smoothly and we were glad to have it,
Overton remarked.
Working in such frigid conditions required
the production to plan accordingly, even
when the crew would retreat indoors to
shoot scenes out of the cold. Any lenses
not working were brought in to warm up
when we were making a move inside and
we carried two sets of primes so that we
could have an indoor set and an outdoor
set. This really sped things up when we
wanted to come inside after we had been
shooting outside. An acclimated set of
lenses meant that we were not putting up
lenses covered in condensation and
fogging. Taking warm lenses outside wont
create problems, but careful planning has
to go into bringing cold equipment indoors.
The cameras always have to be sealed in a
plastic bag when they are coming inside
from the cold so that the bodies do not be-
come wet with condensation as they warm
up. I usually leave them plugged in with the
main power switch on in hope that they will
warm up faster.
Overton is quick to acknowledge the hard
work of the crew in making the shoot a
success. Working in cold conditions re-
quires a lot of cooperation and our camera
crew accepted the challenge. David Rumley
kept all of the equipment well organized
with a good sense of anticipation and an
eye on the thermometer and the weather
report. Jesse Sannerud made sure that
magazines were in the proper rotation so
that we didnt have a magazine that had
been getting cold for hours going on the
camera. Candide and Roger understood
things would take a little longer on occa-
sion because of the conditions. Clairmont
Camera offered us wonderful assistance in
prep, when they were adapting equipment
for us and anticipating solutions, and also
throughout the shoot, he says.
Despite the rough conditions of the shoot,
the overall experience is lled with warm
memories. He explains, The many laughs
we shared making JUST FRI ENDS more than
made up for the cold and it is always a
good shoot when you are working with
Tony.
JUST FRI ENDS is scheduled for release in the
US for Nov. 23, 2005.
An Tran
Tony Richmond, ASC, BSC, next to director, Roger Kumble
Photos: Allen Markeld
Tony Richmond, ASC, BSC,
on the ARRICAM ST,
behind him A unit
camera operator,
Candide Franklin
23 C a me r a
A Passage to India:
Shooting RETURN TO RAJAPUR
Although Hollywood is widely regarded as the lmmaking capital of the world,
Indias movie production is actually the most prolic with well over a thousand
feature lms released each year. For director Nanda Anand, the New York-
based lmmaker would be able to take advantage of Indias experienced
crews and the setting of her native country as a dramatic backdrop for her
rst feature lm. RETURN TO RAJAPUR follows Samantha (Kelli Garner), who
arrives in the historic Indian desert town of Rajapur to discover the truth about
a mysterious man, Jai Singh (Manoj Bajpai). With only scattered photos, old
letters and a love stone to guide her search, she unveils the story of Sara (Lynn
Collins) and Jeremy Reardon (Justin Theroux), along with a secret love affair.
The crew was comprised of primarily two
backgrounds: the Indian crew came from
the Bollywood lm tradition and the Ameri-
can crew came from the U.S. independent
film world. Anand hired Dileep Singh
Rathore of On The Road Productions, a Los
Angeles-based producer who had done
many projects in India. The director also
enlisted Harlan Bosmajian, a cinematogra-
pher with over 20 features, including
LOVELY AND AMAZI NG, LA CI UDAD, SAVI NG
FACE and WI NTER SOLSTI CE.
For Bosmajian, RETURN TO RAJAPUR was his
rst anamorphic lm and his introduction to
the ARRICAM. This was the rst time with
the ARRICAM. Before I had always used
535s. Our B camera on the shoot was an
old BL4 which was a good workhorse, he
says. The ARRICAM was very silent with a
functional design and nice, clear eyepiece...
I would love to use this camera again.
Mixing different time periods, the lm incor-
porated different operating styles, shooting
the second half of the lm handheld. There
was lots of handheld, says Bosmajian, who
chose to shoot the entire project on Kodak
DoP Harlan Bosmajian Producer Dileep Sin Harlan Bosmajian and
Gaffer Vineet Malhotra
1st AC
Manuel Billiter
Director Nanda Anand
2 4 C a me r a
A Passage to India:
Shooting RETURN TO RAJAPUR
ARRICAMs go East
ArtLite is a rental company with pro-
duction bases in Yalta (on the Crimean
peninsula), Moscow and Kiev the
Hollywood of the ex-Soviet Union.
They have recently added the rst
ARRICAM Lite and Studio cameras for
the ex-Soviet market.
Both cameras have been booked out ever
since: CAPTIVITY, directed by Oscar-winner
Roland Joffe, was shot by DoP Daniel Pearl,
ASC. Now the cameras are on the set of
CORRECTI ON OF FATE, shot by cinematogra-
pher Andrei Makarov and directed by
Vladimir Mirzoyev, and also on CONSERV,
directed by Russian hit- maker Yegor
Konchalovsky, and shot by Anton Antonov.
Were very happy that we choose three
perforation cameras, comments ArtLite
co- owner Robert Crombie. The digital
intermediate process is very accepted now
all ve lms nominated for the Oscar in
cinematography this year went through the
DI - process. And producers are a lot
happier when they realize that they will
save 25% in lmstock and developing costs
by shooting with 3 perforation cameras.
Weve also noticed that the ARRICAM Lite
is incredibly popular, adds Robert Crombie.
The mobility of the Lite, together with the
sensitivity of the new Kodak lm-stocks, the
Cine Tape measuring system, and the wide
apertures of the new Master Primes are
coming together to create a new style of
lm-making one that can travel hand-held
into the smallest and darkest corners with-
out fear.
ArtLite also offers lights, cranes, dollies,
generators etc., including a wide range of
ARRI products.
For more information: www.artlite.com.ua
Vision2 5218 lm stock. I wish there were
smaller zoom lenses that are good quality
but can be used in 35mm handheld.
Because shooting style in India is also very
different, 1000-foot magazines were not
available. Since the lmmakers wanted to
be able to have longer takes, the larger
magazines were rented from ARRI CSC in
New York. Production took place over 35
days and included scenes taking place in
the desert during a sandstorm. The equip-
ment was excellent and we put it through
the intense heat of the Rajasthan desert
and multiple sandstorm scenes. We never
had a jammed magazine, says the cine-
matographer who studied lm at New York
Universit y. My grip and electric crew in
India was one of the best I have ever
worked with. They were both creative,
enthusiastic and technically proficient. I
would work in India again in a second.
An Tran
Michael Mukasey is one of Russias success-
ful DPs. For his Moscow based rental
company Rentacam he had choosen the
ARRICAM Lite not only as a very attractive
visual (on one of Moscows busiest streets
the Moslmovskaya) but also as a true work-
ARTLITE Yalta Moscow Kiev
RENTACAM Moscow
horse. Along with the most modern access-
ories ranging from the newest wireless
systems and LDS lenses, the company also
offers the ARRIFLEX 435 Xtreme, ARRIFLEX
535B and 16SR3 cameras. Currently the
ARRICAM is on the set in Sewastepol.
Robert Crombie
Michael Mukasey
1st AC
Manuel Billiter
2 5 C a me r a
Mike started his career in the BBC sound
department in 1972 but was soon seduced
by the idea of creating wonderful images
through photography. During his twenty
year career he has become an internation-
ally renowned DoP and is considered a
specialist in the eld of underwater photo-
graphy for commercials, dramas and
feature lms. He has worked on over fty-
six feature lms, such as T R AI NSPOT T I NG,
TOMB R AI DER, DI E ANOT HER DAY, and
STAR WARS EPI SODE 1 to name but a few.
He now runs his own production company,
Valentine Films with his wife Francoise who
works regularly with him on productions as
1st Assistant Director / Producer.
Recently Mike met with Hedley Dindoyal
and Stuart Ryan from PWI who commis-
sioned him to shoot a commercial for the
International fashion house, Escada for their
new fragrance, Pacic Paradise. When
asked about the location for the shoot Mike
didnt hesitate in stating that he thought the
only place possible for the shoot had to
literally be paradise and on this occasion
the destination became Palau and paradise
became one of several hundred islands
scattered in the South Pacic. Mike ex-
plained These islands are some of the most
beautiful in the world with the most amazing
deserted beaches, jungles, waterfalls and
sh life, therefore supplying the most perfect
of back-drops for the commercial for this
luxury brand.
With the location agreed, it was time to
think about what equipment to take. As the
journey would take an arduous two days
from London via Dubai and Manila, it was
crucial that Mike had exactly what he need-
ed when he needed it, in such a remote
location. Although he owns his own camera,
an ARRIFLEX 435 and lenses, he wanted to
ensure that he was well prepared for all
eventualities and so he hired the ARRIFLEX
235 camera from ARRI MEDIA in London.
He explained the reasoning behind this:
DoP Mike Valentine, BSC, puts
the ARRIFLEX 235 through its
paces in the South Pacific. SHOOTING in Paradise
Its not easy being Director of Photography. Sometimes you nd yourself
in paradise on one of the most breathtaking beaches in the world, shooting
a commercial featuring some of the worlds most beautiful fashion models
its a difcult job, but someone has to do it
26 C a me r a
I planned to use the camera in so many
different ways, on a tripod, handheld, on a
crane and in a splash bag, the size and
weight of the camera made the decision
really easy for me. Mike added I put a
lot of faith in the 235, with only three days
to complete the shoot and in such a remote
location I had to hope that this small camera
wouldnt let me down. My crew and I were
amazed at how well it performed. At one
stage we were in the jungle in 86 % humi-
dity and then as if that wasnt enough, the
heavens opened and it poured with rain.
Im glad to say the little camera didnt let us
down once.
The commercial shoot proved the perfect
project to show the versatility of the camera,
especially for hand held work. Mike ex-
plained. Using the camera in the hand-held
mode felt far better than any video camera
I have held, due to the balance. The 200 ft
magazine was comfortable and with the
400 ft magazine it became even more com-
fortable and for the rst time I felt I could
have shot hand-held all day without any
problem.
The 235 performed well even when put inside
the scuba cam bag during the water level
sequences. It was at this time that they used
the ARRI Wireless Remote System allowing
Focus Puller Dean Morrish to control the
focus with a radio link in a boat up to 50 ft
away.
For the reverse sunrise sequence Mike shot
at 1 frame per second and was amazed to
see during the telecine how stable the
images were even speeded up twenty-four
times, explaining that the footage shot at
50 frames per second allowed the oppor-
tunity to slow down certain sequences
back to 25 frames per second, hardly ever
using the normal running speed.
Mike summarised his experience shooting
with the 235 for the rst time: I can really
say that we put this versatile little camera
through its paces and I was delighted with
its performance. In many cases, the condi-
tions were harsh and it performed awlessly.
For those considering using it in the future,
they can rest assured that they wont ex-
perience any problems.
Mike and Francoise are currently preparing
for their rst feature lm titled, LOUI S an
aspirational love-story based on the real life
adventures of Louis Boutan, one of the rst
underwater cinematographers in the 1890s.
Judith Petty
Crew Details:
Focus Puller, Dean Morrish
2
nd
Focus Puller, Jason Wren
Loader, James Lewis
For further information contact details are
available on www.valentinelms.com

SHOOTING in Paradise
27 C a me r a
The CPA (Center Production Audiovisual)
is part of the complex organization of the
Aeronautical Military General Staff. Its
main task is to produce images on lm and
video for the Italian Armed Forces and
also to create a historical archive. At the
moment an extensive evaluation test is
carried out to replace their main 35 format
lm camera, the old but reliable ARRIFLEX
35 II C, with the latest technology. Quite
naturally the new ARRIFLEX 235 is consid-
ered as an optimal choice since it maintains
ARRIFLEX 235
i n Tor nado Ai r cr af t s
One of the dreams of every
cinematographer is to realize
breathtaking pictures. Well, no
problem at 6 to 7 G in the cockpit
of a Tornado aircraft just a little
stressful to the equipment, and
maybe for the cinematographer as
well. To produce such impressive
footage from the cockpit of a com-
bat airplane ying close to other
jet planes is one of the tasks of the
Italian Truppa Azzurra, which is
currently testing the ARRIFLEX 235.
the small size, easy handling and light
weight of the venerable IIC, while offering
all the advantages of modern lm cameras
like much improved ergonomics, Super 35,
swingover viewnder, high quality video
assist and support for the full range of
modern accessories.
Already the rst hands- on experience,
carried out at the Pratica di Mare military
airport, totally satised the demands. Some
of the new 235 features that were not
present on the IIC were very much appre-
ciated, including the highly exible and
bright viewnder with the optional view-
nder extension, which allows the camera-
man to easily wear a helmet and oxygen
mask while lming. Also very critical are
the dimensions of the equipment in the very
restricted area of a combat airplane cockpit.
The large number of 235 mounting options,
different handles, different magazine
choices and the modularity of the 235
camera system all help in the sometimes
cumbersome search for enough space.
Of course, we do not want to omit the
opportunity to thank the members of the
unit CPA: Colonel Felici, Marshal Natale,
Marshal Bielli, who carried out the rst
tests and submitted these pictures.
Mauro Sembroni / Giuseppe Tucconi
2 8 C a me r a
First ARRIFLEX 235 in Denmark
The 235 Compact Rod Holder is a view-
nder port cover that can hold two support
rods. When the 235 viewnder is removed,
for instance for a Steadicam low mode
shot, the CRH-1 takes its place. The CRH-1
accepts two 19 mm support rods, or with
the addition of the CRH-1 Reduction Sleeve
Set also 15 mm support rods. Thus it allows
mounting of lens motors when an extremely
compact build of the 235 is required.
The 235 Left Rod Bracket LRB-1 makes it
possible to mount lens motors or a Light-
weight Follow Focus LFF-1 along with a left
hand grip on the left side of the 235 in a
weight efcient manner. The LRB-1 attaches
to the left side of 235 Riser Plate. It accepts
one 19 mm support rod, or with the LRB-1
Reduction Sleeve Set, one 15 mm support
rod. A left hand grip can be mounted on
the rosette.
235 Left Rod Bracket LRB-1
235 Compact Rod Holder CRH-1
I always wanted a small handy 35 mm MOS
camera. The ARRIFLEX 235 is perfect for
shooting in cars, and on car mount, its a
great camera, says DoP Jens Maasboel.
He works mainly on commercials and decided
to buy an ARRI FLEX 235 as his personal
camera. His 235 is the rst in Denmark and
already heavily in use.
Mogens Gewecke
Contact: email: jens@maasboel.com
OMV, Director Kasper
Wedendahl
Ident Number: K2.65037.0
2 9 C a me r a
Over the last two years, Super 16
has emerged stronger than ever as a
viable origination medium for high
end imaging in commercial, narrative,
and documentary projects. Many
articles have been written highligh-
ting big names like Vilmos Zsigmond,
ASC, and Haskell Wexler, ASC, who
are returning to Super 16 and
extolling its virtues. Kodak is now
offering Super 16 workshops to
educate young lmmakers on the
benets of shooting Super 16 lm.
AROUND T HE WORL D WI T H
SUPER 16
A number of factors have combined to
bring Super 16 to the attention of producers,
directors and cinematographers again.
These factors include the new Kodak Visi-
on2 emulsions, faster and sharper lenses,
rugged and reliable cameras like the
ARRIFLEX 16 SR3 Advanced, the advent of
high quality scanners like the ARRISCAN,
improved telecines and the emergence of
the Digital Intermediate process.
Many of these same people had been
seduced by the initial promise of HD tech-
nology, specically its proposed efciency
and cost savings. But in the real world,
high end HD video acquisition can become
a daunting proposition. Cameras with
elaborate menus and changing backfocus
nd themselves in need of DITs (Digital
Intermediate Technicians), waveform moni-
tors, cables, and large calibrated monitors
all of which must be moved around the set
like a well choreographed carnival.
While HD has its many virtues and strengths,
lm is still the standard by which imaging
is judged. Because the continued liveli-
hood and future development of Super 16
depends on new and emerging lmma-
kers, Kodaks Entertainment Imaging (EI)
division has been actively partnering with
cinematographers, production companies,
manufacturers, and post facilities to get
lm into the hands of these young and
developing image makers. This new video
centric generation includes many who have
never photographed a single frame of lm.
Their rst still cameras were digital their
rst motion picture cameras were automa-
ted consumer DV. This situation makes the
lm educators responsibilities even more
challenging and Super 16 camera systems
serve as a practical means to bridge that
gap.
While Kodak has always supported student
and emerging lmmakers, the company is
continuing their outreach with a series of
Super 16 workshops presented worldwide.
The three primary programs are entitled
Stop By Shoot Film (Film Basics), The Kodak
Film Experience (Intermediate Level), and
The Kodak Cinematography Workshops
(Advanced Production Techniques). The pri-
mary reason to implement these workshops
may revolve around demonstrating the
new Vision2 stocks, but the workshops are
far more than PR exercises. The potential
Super 16 user has advanced knowledge of
video technology and techniques. To truly
appreciate lm acquisition and lm images,
this person must go out and shoot lm,
then see the difference rsthand during a
telecine session.
The Truth About Film workshop in Bris-
bane, Australia, hosted by Kodaks Leigh
Christensen and Randy Sparrazza was an
ideal situation for this complete Super 16
experience. The program brought together
a team of cinematographers, all highly
experienced educators. On tap were
During the International
Wildlife Film Festival,
the Kodak Film Exper-
ience workshop offered
hands-on intensive
training for documen-
tary lmmakers.
This beautiful nature
preserve in Missoula,
Montana acted as an
ideal location.
The Cutting Edge post facility hosted the Kodak Film Experience in Brisbane, Australia. DOP instructors
Thom Marini, Tim McGahan ACS, Michael Goi ASC, and Matthew J Siegel put this class through it paces.
3 0 C a me r a
With director of photography Matt Siegel
acting as guide, participant Mark Phillips nds
exposure for a high contrast beach and sky
during the Santa Barbara Stop By Shoot Film
workshop.
the myths. We have to make the technology
and the equipment completely approach-
able, said Matt Siegel. In a workshop si-
tuation, we have so little time, and so much
information to convey. It is essential not to
overwhelm a prospective lmmaker.
In keeping with that philosophy, the Truth
About Film workshop took a decidedly
hands-on approach. Students broke away
into small production groups. Each member
took a turn as director of photography
designing his/her own shots, as camera
operator framing for a director of photo
graphy, as 1
st
camera assistant setting
T-stops and pulling focus, as 2
nd
assistant
loading cameras, and as gaffer lighting the
set and reading light meters. Away from
these technical/crew challenges, the instruc-
tors emphasized the collaborative nature
of lmmaking and the heightened need for
communication when working in lm.
What is different or unique when going out
to photograph with Super 16 motion picture
cameras and lm? The rst realization that
came from many students was the idea that
nothing is automatic. Unlike video systems, a
lm camera does not think for you; no auto
focus, no auto iris. The shoots also introdu-
ced proper set procedures and protocol, a
strange novelty for those coming from the I
can do it all myself school of video. The use
of grey cards, slates, camera reports, and
light meters demonstrated certain rituals for
lm photography designed to make the expe-
rience most productive, creative and effective.
Ultimately it came back to the images.
Whether lming at 24 fps on a 30-year-old
ARRIFLEX 16 SR1 or animating on a hand
wound Bolex, or doing time lapse, modern
lm stocks and camera technologies have ad-
vanced motion picture lm to a point where
by all accounts the process is easier for the
novice to produce stunning images. The key
factors include its tremendous latitude, high
ASA, and extremely ne grain structure. This
fact was evident on the workshops nal day
as an extremely wide range of images came
up on the telecine at Brisbanes Cutting Edge
post facility.
For people to choose Super 16, they have
to see the difference. The major impact has
to be the image itself. When the lm images
came up on the HD monitor in the workshops
telecine suite, there was a resounding Wow
factor. Without question, the Brisbane cine-
matographers, directors, and producers were
amazed by the difference in the lm image
compared to their previous experiences with
videography, specically in the rich skin tones
and in the highlight information.
Heading into 2006 with the educational
schedule, it is exciting to see Kodak joined by
ARRI, Schneider, and other lm companies in
a coordinated effort to bring the simple and
elegant advantages of Super 16 cinemato-
graphy to the world. Detailed information on
the workshops can be found at www.kodak.
com/go/motion.
Matt Siegel
SUPER 16
Matthew J. Siegel (USA), Michael Goi,
ASC (USA), Tim McGahan, ACS (AUS),
and Thom Marini (USA).
The cinematographers tag teamed to teach
the thirty participants both the basics of
production and the essentials of lm style
shooting. On the rst intensive day, they
touched upon lm language, exposure, me-
tering, loading, and cameras. Immediately
following this overview, the class began
lming on Super 16 with a wide variety of
cameras including the ARRIFLEX 16 SR3
and SR2, Aaton XTR Prod, and the Aaton
A-Minima.
The challenge of current lm education is
to make it simple. I do all I can to dispel
Participants at the Kodak Film Experience-Singapore
take their turn at Super 16 motion picture photography.
Media Corp provided
stage space, lighting
equipment, and crew
for the participants of
the Kodak Workshop-
Singapore. Kodak
educational DOPs
David Lee, Thom Marini,
and Matthew J. Siegel
take a moment to pose
with the class.
31 C a me r a
Soon after the rst ARRIFLEX 235 prototypes
were in customers hands, those customers
were asking for a lightweight wide zoom
that could be used when going hand held
or on a Steadicam. Similar requests have
been made by customers shooting with the
ARRICAM Lite.
For years ARRI and Zeiss have been work-
ing on several alternatives for a lightweight
wide zoom with outstanding performance
and a weight of under two kilograms
(4.4 lbs). Sophisticated design and manu-
facturing techniques, which include the
production of large diameter aspherical
elements of high precision, and the uses
of exotic glass materials, ensure that
this lens will deliver the customary Zeiss
ARRI and Zeiss are announcing
the development of a lightweight
zoom (LWZ-1) inspired by the
ARRIFLEX 235 and ARRICAM Lite
cameras.
quality despite its compact form factor
and light weight. This zoom lens matches
perfectly with the ARRI/Zeiss Ultra Prime
and Master Prime lenses, since it is super
color matched and shows similar image
quality and image characteristics. Special
light absorption techniques and the new
and improved Carl Zeiss T*XP multi-layer
anti-reex coating keep veiling glare to a
minimum. The design of focus, zoom and
iris scales has also been matched so assis-
tants can work with familiar controls on all
ARRI/Zeiss lenses.
The ARRI/Zeiss Lightweight Zoom further
expands the range of 35 format lenses
of the highest quality offered by ARRI and
Zeiss.
ARRI/Zei ss Li ght wei ght
Zoom LWZ-1
Main Features at a Glance:
Compact, lightweight zoom covering ANSI Super 35
15.5 to 45 mm
T 2.6
Weight under 2 kg /4.4 Lbs
Ultra Prime image quality through aspherical elements and Zeiss T*XP coating
Color matched to Master Primes, Ultra Primes and Ultra 16 lenses
Perfect for ARRIFLEX 235 & ARRICAM Lite
32 C a me r a
ARRI Video Accessories
An Interview with Casey Kemp, First Light HD
Casey Kemp of First Light HD in
Denver had heard that the rst
prototypes of ARRIs new compact
wide angle matte box MB-20 were
making the rounds. When Kay Baker
of Film/Video Equipment Service in
Denver nally showed it to him, he
said I fell in love with it and just
had to have it I felt youd have to
tear it out of my hands. Casey
quickly added the unit to his produc-
tion inventory and has been very
pleased ever since.
We were originally convinced by the pro-
duct because of its exibility, he says,
referring to the MB-20s unique ability to
be used both in rod-mounted and clip-on
congurations. But then we also like the
MB-20 lter setup, where we can rotate
both lters, not just one. Casey also noted
that the MB-20 allows for an unpreceden-
ted number of lens options. We use the
MB-20 with Fujinon primes and EFP lenses,
which are high-quality zooms. Weve also
used the MB-20 with the 114.7mm Canon,
the 227.3mm Fujinon, and the 134.5mm
Fujinon. With very wide-angle lenses like
the 134.5mm Fujinon the other matte
boxes vignette, but the ARRI doesnt.
Quality is important to videographers, who
have to face the same rough conditions and
hostile environments as lm crews, and
Casey feels that the MB-20 lls the need for
a robust compact matte box in the video
accessory marketplace. The workmanship
and hardware are really nice, he says,
and theres also just something great about
the way it looks. You can see that the
quality is there. Plus, theres the reputation
of ARRI. Its really great that you guys have
decided to get involved in this.
Casey nds that his matte boxes sees good
utilization reaching 15 rental days per month.
The rst question everyone asks is, is the
ARRI in? Unfortunately, since we only have
one for now, we often have to say no.
But as the MB-20 starts to ship in August,
Casey is planning to rectify that situation
as soon as possible. We also want to add
the new follow focus (FF5-HD) as soon as
possible, he ads. Its a big advantage
when you can put the follow focus on or
take it off without removing the matte box,
which is what you have to do with the other
video units. In our eld, being fast is really
important. As soon as we saw it, I thought,
gosh, its great get one.
Thank you, Casey and Kay.
Jim Elias
Lightweight
Support
LWS-4
An update to the Lightweight Support LWS-3,
the LWS-4 fullls the same functions but
with a more robust design. Like the LWS-3,
the LWS-4 is used to attach the 15 mm
lightweight support rods to the front of
either an ARRIFLEX 16SR 3 or a video
camera. Especially for video cameras the
lightweight support rod system is popular,
since it allows accessories to be mounted
with the least increase in weight.
Many accessories can
attach to the light-
weight support
system, including the ARRI lens motors CLM-
1 or CLM-2, the Lightweight Follow Focus
LFF-1, the Studio Follow Focus FF-4, FF-5HD
and the matte boxes
MB-19 or MB-20.
Casey Kemp and Kay
Baker with the new
wide-angle compact
mattebox MB-20
3 3 C a me r a
ARRIFLEX 435
The Timing Shift Box alters the phase rela-
tionship of the mirror shutter to the move-
ment, so that the film is exposed while
being transported. This creates a streaking
effect that has become popular to indicate
a heightened awareness of the characters,
like in a combat situation, for instance, or
an unusually stressful or unique state of
mind. Even though a timing shift was con-
sidered an image defect for decades,
modern lm cameras like the ARRICAM
Studio, ARRICAM Lite or 435 Xtreme can
make this effect available to lm makers in
a controlled fashion.
The Timing Shift Box (TSB) is an accessory that has been available for
the ARRICAM already, and is now also available in a version compatible
with the ARRIFLEX 435 Advanced and Xtreme.
With the TSB the timing shift effect can be
adjusted from very faint to very strong. The
amount of jitter, a random uctuation in the
strength of the effect, can also be set to
various degrees. In the past a timing shift
effect with jitter used to be done by pur-
posefully misadjusting the timing belt of
the oldest camera in the eet; this effect
can now be simulated by the software that
controls the camera movement and mirror
shutter motors. The timing shift effect can
be executed while the camera is running
(a timing shift ramp), or the effect can be
locked in to remain constant.
The 435 Timing Shift Box is connected to
the 435 by means of the MCB Cable
Adapter (K2.52213.0) and the 435 Timing
Shift Box Cable. To distinguish the 435
Timing Shift Box from the ARRICAM Manual
Control Box (black cover) and from the
ARRICAM Timing Shift Box (red cover), the
435 Timing Shift Box has a blue front cover.
TIMING SHIFT BOX
The Hand Crank HC-1 can be used with
any ARRIFLEX 435 Xtreme or 435 Advan-
ced (even without FEM-2), to achieve that
old fashioned hand cranked look. An
ARRIHEAD hand wheel (not included) can
be attached to the HC-1, and the rotation
of the hand wheel will govern the speed of
the camera. The slight inconsistencies in
speed introduced by the human arm is
what makes for that special historic look in
old newsreel footage, and it can now be
re-created easily with the 435.
HAND CRANK HC-1
To set the HC-1 to the operators liking, a
uid dampening of the hand wheel can be
set, and three gear ratios can be program-
med on the cameras display: 5, 10 or 20
frames per revolution. The HC-1 can control
speeds from 0 to 150 fps, forward or
reverse.
Ident Number:
435 Timing Shift Box TSB K2.54171.0
Ident Number:
Hand Crank HC-1 K2.55022.0
3 4 C a me r a
The Cine Tape Measure from Cinematogra-
phy Electronics is an ultrasonic distance
measuring device that can be mounted to
a camera. The ARRI Lens Data System can
accept the input from the Cine Tape Meas-
ure to display the measured distance and
for focus tracking. While this has been
available for the ARRICAM cameras
(Studio and Lite) and the ARRIFLEX 435
Xtreme for a while now, a software update
to the Universal Motor Controller UMC-3
makes this feature now available to all
other cameras. Once the Cine Tape Meas-
ure and UMC-3 are connected, the follow-
ing features are available:
CAMERA Configuration Overviews
The modern ARRI equipment has become
more sophisticated but also more complex
in the last 10 years. To shed some light
onto the ARRI camera product line and
compatibilities between components, we
have created the Conguration Overviews,
an ever expanding series of visual cheat
sheets for what goes with what. Take a
look on the ARRI website to download these
overviews, or call your local ARRI sales
rep to purchase a set of print outs in a map.
Future updates can be downloaded from
the ARRI web site.
UMC-3 Compatibility with
Cine Tape Measure
Display Measured Distance
The measured distance from the Cine Tape
Measure is displayed as a mark on the focus
scale of the Lens Data Display Classic (LDD)
or the Lens Data Display for Focus Puller (LDD-
FP). This also works when the LDD-FP is used
wirelessly.
Focus Tracking
When the LDD-FP is used alone or in combi-
nation with the Wired Handgrip Attachment 3
(WHA-3), it is possible to let the lens motors
continuously set the lens to the measured
distance, thus tracking the focus. This function
can be easily activated and
de-activated by the FOCUS TRACK button on
the WHA-3 or by the buttons on the LDD-FP.
Ident Number:
Camera Conguration Overview K2.47662.0
35 C a me r a
ARRIFLEX D-20
at the Munich Film Festival 2005
This years Munich Film Festival provided a unique forum for presenting new possibilities of digital
image acquisition. In a well-attended event at the Black Box Theater in the Gasteig Cultural Center,
ARRIs hardware and services divisions joined forces to highlight the ARRIFLEX D-20.
Following an overview of the technology
and the screening of footage shot with the
camera, a panel discussion featuring the
well-known German DoPs Tom Fhrmann
( DAS WUNDER VON BERN, DER HI MMEL
KANN WARTEN) and Stefan von Borbly
( DI E NACHT DER REGISSEURE, Commercials
for Mercedes, Langnese, among others)
gave the audience the opportunity to hear
about rst-hand experiences with the D-20.
Experts from ARRIs various departments
were also at hand to answer questions,
covering not only the camera technology
but also such topics as recording and work-
ow. The following day the D-20 was also
a major attraction at the HD-Campus, which
was held at the nearby German Museum.
Aside from the hands-on exhibition of the
camera system, visitors were treated to a
presentation of D-20 images on the museums
huge IMAX screen and could take part in
an introductory seminar on the camera.
In his opening speech, ARRIs Managing
Director Franz Kraus claried the strategy
that the company is following with the D-20
and explained where ARRI sees the position
of digital in relation to classic analog image
acquisition: It remains to be seen if and at
what rate digital image acquisition will com-
plement or even replace lm in the long run.
It is not our primary interest to replace lm
as the highest quality medium for profes-
sional motion picture imaging. We believe,
however, that digital technology is ready to
adequately supplement lm, especially in
high quality television productions. Marc
Shipman-Mueller, Product Manager for Film
Cameras and Lenses, then spoke about the
Marc Shipman-Mueller, Elfi Bernt,
Stefan von Borbly, Tom Fhrmann (f.l.t.r.)
Walter Brus, Theo
Bierkens (DP), Klaus Feix
Michael Koppetz
explains the D-20
Marc Shipman- Mueller,
Michaela Haberlander
(FFF), Franz Kraus at
the Happy- Hour after the
presentation
3 6 T r a d e S h o w R e v i e w
technology and architecture of the D-20
camera system and described the current
status of professional digital cameras in
the international market. His presentation
was concluded by the screening of footage
shot with the D-20, including clips from the
MNCHNER BILDER- SYMPHONI E I N ZWEI
STZEN, shot by DoP Stefan von Borbly
with Director Margrt Rn in Winter 2004.
In the following panel discussion, the DoP
commented on his experiences: It was
really surprising what we could do in night
scenes, and how much headroom we even
had in post, he reports, clearly impressed
by the image quality.
With regards to the post production of the
footage, Henning Rdlein, Head of ARRI
Digital Film, added: The rst impression
was already very good. I think it is ok to
do some tweaking, e.g. color-correction,
since we can assume there is always post-
production. But there was no clipping whatso-
ever in the camera image data, as would be
the case with conventional digital cameras.
A lively discussion ensued, with experts
from ARRI including Michael Koppetz from
the D-20 R+D team and Ele Bernt, Product
Manager of ARRI Digital Intermediate
Systems on hand to answer the various and
often very specic questions from the pro-
fessional audience. The relative merits of
analog and digital acquisition were a major
topic, for obvious reasons. When asked to
explain the growing investment in HD despite
the obvious advantages of lm, the two
DoPs were very pragmatic: We shoot digi-
tal simply because we are asked to shoot
digital. As Stefan von Borbly put it: More
and more TV stations will be expected to
broadcast in HD quality, at the very latest
after the Soccer World Cup 2006. And even
today producers ask us whether we have
experience with HD and can shoot digital.
If all technical and aesthetic possibilities
are available in digital acquisition so that
there is no difference to what we have been
able to achieve with lm, there is no reason
not to shoot digital, explained Tom Fhr-
mann. However, the results need to meet
the quality standards that we are used to.
For us DoPs this means, we have to learn a
lot again including all the difculties and
surprises this new technology still has in
store for us.
I dont think it is just the digital camera
which is of interest, Franz Kraus remarked.
The more important question is how a result
can be achieved in the best, most reliable
and cost-effective way. For us quality, relia-
bility and exibility are essential because
commercial motion picture productions cant
afford to become a proving ground for
risky experiments with new technology.
Summing up the companys position, ARRIs
managing director continued: We still
spend more money on lm-based develop-
ments than on digital acquisition. This ap-
plies to new lm-based cameras as well as to
hybrid technologies that interface between
lm and digital such as the ARRISCAN
and the ARRILASER. On the other hand, we
are not ignoring the challenge of digital
imaging: we have to learn to play this instru-
ment in order to gain competence and a
clear idea of our own position. Neverthe-
less, we still believe that 35 mm lm is the
best and most reliable image acquisition
medium and see a tremendous potential
in the digitization of the post production and
distribution. In conclusion, Franz Kraus
pointed out that it is through these techno-
logies that the true quality potential of lm
can be carried through to the cinema
audience. Like electronics, lm is a moving
target which is continually evolving. If lm
emulsions would still look like they did 30
years ago, digital would have already won
hands down.
Jochen Hhnel
37 T r a d e S h o w R e v i e w
The Iranian delegation in front of a model of the
new Hashtgerd International Studios
F.l.t.r.: Mr Heydarian, Mr Masjed-Jameie
F.l.t.r.: Mr Kamrani, Mr Masjed-Jameie,
Mr Foroutan, Mr. Shahrivary Shadab
DoP Alexey Berkovitch
First Cinec Salon
For nearly ten years the trade show Cinec has become one of the most
successful and innovative platforms for the promotion of international cinema
technique worldwide. Reason enough to promote the rst trade show for
the lm industry in Iran under the name Cinec. In spring, Iranian lm profes-
sionals had the opportunity to learn about the current state of lm technique
for the rst time in Iran. During the Cinec Salon Teheran DoP Hamid Khozuie,
winner of the 23rd Fadjr Film Festival, was awarded the prize of honor,
sponsored by ARRI.
The Cinec Salon opening ceremony was
presided over by the Iranian Minister for
Culture, Masjed Jamei, and Heidarian
Jahromi, Deputy Minister of Culture, in the
camera department. This demonstrates an
ofcial interest in an east-west dialogue be-
tween our varied cultures. At international
lm festivals like Cannes, Venice and, even
in Hollywood, lms with Iranian cultural
themes, which are new to us, can be found
more and more often and are increasingly
successful. This is not surprising, since Irani-
an cinema looks back on a tradition of one
hundred years of lm production and there-
fore a wealth of stories.
At the same time, the Cinec Salon Teheran
marks the start of new and ambitious plans;
not even 70 kilometers beyond the city
limits of Teheran, on the outset of the Alburz
mountains, the new Hashtgerd International
Studios (HIS) cover an area of 100 hectares,
offering cutting edge technology to become
a hub for the international lm industry.
2500 new lm theatres, multiplexes among
them, are scheduled to open in Iran in the
next three to six years. Yearly feature lm
production is estimated to increase from cur-
rently 65 features to 120 features in 2005,
and then 200 features is 2006. Local sup-
port is provided by the Cinema Shahr Insti-
tute and its General Manager, Mr. Shadab,
by the Farabi Cinema Foundation and the
Cinema City Institute.
Shortly after the Cinec Salon a return visit
to Germany was paid by a high-ranking
Iranian delegation consisting of Heidarian
Jahromi, Deputy Minister of Culture, Seyed-
zia Hashemi Khaled, Head of the Iranian
Society of Cinematography, Mr. Shadab,
Managing Director of the Iranian Film Insti-
tute, and the consultants Mr. Hosseinnejad
and Mr. Pojhan. The visit gave an opportu-
nity to deepen ongoing conversations and
for a personal impression right on location
in Munich. The delegation toured the factory,
among others, where they received rst
hand information about the ARRISCAN, the
ARRILASER and also about the newest in
camera technology, the ARRIFLEX D-20. All
lm service areas, from equipment rental
and lm lab to ARRI Digital Film were part
of the tour, as well. The Bavarian Ministry
of Economic Affairs, Mr. Georg Reichl,
assistant secretary and head of the depart-
ment for foreign relations, participated in
the conversations.
Thomas Popp
in Teheran Successful
3 8 T r a d e S h o w R e v i e w
Cine Gear
During this years Cine Gear at
the beginning of June the organizers
had mercifully exchanged the
dusty Western town set of previous
years for a nice outdoor set of a
small American town in the Warner
Brothers studio lot. The show was
well attended, the weather was
pleasant and both the ARRI camera
and lighting divisions were exhibit-
ing new equipment. Various after-
show activities allowed those who
attended to deepen their knowledge
of the new gear.
One of the biggest draws at the camera
booth was the ARRIFLEX D-20 pre-produc-
tion model. Bill Lovell, Product Manager for
Digital Cameras answered many questions
and showed the images from the D-20 in
proper viewing conditions inside a building
behind the camera tent.
Another big draw were the new lenses
shown. The Master Primes were displayed
on almost every camera at the ARRI booth.
Many cinematographers were dragged into
the booth by their assistants to see the new
Ultra Prime 8R lens, using two ARRIFLEX 235
cameras as directors viewnders. We noted
with satisfaction the large numbers of 235
cameras that showed up in everyones booth,
as well as the many special rigs and jigs
built for the 235.
The new 435 Hand Crank HC-1 was shown
at Cine Gear for the rst time. As the name
indicates, with this accessory it is possible to
move a wheel by hand to control the speed
of the 435, to achieve that historic hand-
cranked look. The faster the wheel is turned,
the faster the 435 runs, from 0 to 150 fps,
forward or reverse, with a selection of gear
ratios.
Another new accessory shown was the
External Display EXD-1, which can be
mounted on any 16SR3, 535, 435 or 235
camera, and provides a display and simple
controls. With an extension cable, the EXD-1
also becomes a convenient remote control
for those cameras.
On the afternoon of the last day a well
attended screening was presented where
sample footage was shown shot with the
Master Primes, with the Ultra Prime 8R and
with the ARRIFLEX D-20 camera. All in all
the Cine Gear was a successful and plea-
sant show, and we are looking forward to
returning next year.
in Teheran Successful
ARRI equipment was displayed in the camera
tent (left) and the lighting tent (right)
Franz Wieser from ARRI Inc. explains the
ARRIFLEX D-20 camera
The 235 was the camera of choice for
many new and unusual contraptions
Back to the future with the 435 Hand Crank HC-1
The External Display EXD-1 on a 435 Xtreme, providing
a display and controls on the cameras right side
2005
39 T r a d e S h o w R e v i e w
DIGITAL DAY
TAKE 3
On Saturday, July 30th the
DGA (Directors Guild
of America) held a one-day
industry event titled
Crossing the Digital Divide.
The event was well attended and supported
through exhibits and hands-on demos by
ARRI, Dalsa, Panavison, Sony and Panasonic,
just to name a few. The day was also lled
with presentations, seminars and panels
which covered everything notable about digi-
tal formats, cinema, intermediate process
and workows. It started with the topic
Choosing a Format The latest options in
Workshops
in Kiew and Yalta
ARRIs partner Proline Ukraina organized a
three days workshop wherein Sibylle Maier,
Thomas Popp and Stefan Schmidt had the
opportunity to present ARRI camera, lighting
and digital products to the professional
audience.
HD, DV, Mini DV & HDV, in which Franz
Kraus was the opening speaker. Franz Kraus
laid out the latest development in the D-20
digital camera concept and elaborated on
its integration in the digital intermediate
workow. The latest D-20 test footage was
screened meeting wide acceptance within
the audience. Other presenters in this panel
were Mark Chiolis, Managing Director,
Thomson Grass Valley; Alan Lasky, Special
Projects, Dalsa; Moe Shore, VP Technical
Marketing, Panavision; Doug Leighton, Sales
Development Manager, Panasonic; Bernie
Mitchell, President, Silver Platter Productions,
Spokesman for JVC; Greg Salman, Cinema-
tographer, Spokesman, Canon; Andrew
Stucker, Manager of Studio Production Exhi-
bition Systems, Sony.
Franz Wieser
Workshops at the broadcast stations INTER,
1+1 and TELEKOMPANIA UKRAINA, as well
as the Yalta lmstudios focused on the new
lighting products like the ARRI X Ceramic
and its use in new studios.
The workshop at the Dowschenko lmstudio
was especially noteworthy. All product
areas camera, lighting and digital were
received with great interest by the public.
Questions from the audience created a live-
ly exchange of thoughts, that resulted in
some very valuable ideas for new products.
Stefan Schmidt
F.l.t.r.: FRONT Bernie Mitchell, Brian Frankish, Greg Salman,
Andrew Stucker. BACK Doug Lieghton, Moe Shore, Mark Chiolis,
Alan Lasky, Franz Kraus
Thomas Greiser, Technical Representative for ARRI
Inc. NY, discusses the D-20 with a DGA member.
Stephan Ukas-Bradley, Manager of Technical
Services for ARRI Inc. CA, demonstrates the D-20
4 0 T r a d e S h o w R e v i e w
BIRTV 2005
With more than 50,000 visitors this exhibi-
tion is on the same level with NAB and IBC.
ARRI was represented with its own and
extended booth showing all state-of-the-art
equipment, ranging from the ARRIFLEX D-20,
Master Primes, 235 and ARRICAM to the
ARRISCAN, ARRILASER and an extensive
lighting programme. The importance of the
exhibition was underlined by the presence
of ARRIs entire executive board, Klaus Feix
and Franz Kraus, and Serge Giordano, the
new Vice President Sales.
One of the rst visitors on the ARRI booth
was the DoP Zhao Xiaoding, who was nomi-
nated for an Oscar for best cinematography
for his work on HOUSE OF FLYI NG DAGGERS,
directed by Zhang Yimou ( HERO) . Mr. Xiao-
ding was greatly impressed by the live pic-
tures of the D-20: The resolution of details
in the dark areas is phenomenal, he said,
and the skin tones are now even in digital,
like you know them from lm. The live
demonstration of the ARRIFLEX D 20 was the
great attraction and product manager Bill
Lovell and executive board member Franz
Kraus were the most wanted professionals
for discussions and the exchange of ideas.
Another buzzword was ARRIs Digital Inter-
mediate System. Especially the ARRISCAN
and its new workow approach, together
with the concept of a LED illumination and
a CMOS sensor, attracted wide interest.
Scanning 35 mm lm life on the showoor
and the upcoming speed upgrade for an
even higher productivity (4 fps @ 2K) made
a very positive impression. ARRIs Digital
Intermediate showreel was shown in a
mandarin version to further explain the
workow of the ARRISCAN and the ARRI-
LASER. The DI concept is quickly being
adopted, as China has the greatest number
of digital cinemas in the world.
The Beijing International Radio, TV and Film Equipment Exhibition draws not
only Chinas industry leaders, network stations, productions and of course all
the creative potential, but is also a magnet for the whole area.
DoP Zhao Xiaoding ( HOUSE OF FLYI NG DAGGERS,
HERO) , in the middle between D-20 product
manager Bill Lovell, left, and Franz Kraus, right
Conducting one of the extensive tests with the
new ARRIFLEX D-20: Mr. Lei Zaixing (BFA)
F.l.t.r.: June Fung (Jebsen), Reinhard Kulterer (ARRI),
Mr. Ben Mau / IVE Hongkong, Harald Brendel (ARRI)
F.l.t.r.: Mr. Huang Yaozhu (Hualong), Mr. Yang
Butin (China Film Group), Mr. Franz Kraus
Mr. Yang Xuepei (CRIFST), Mr. Yang Butin (China
Film Group), Mr. Chen Fei (Chief Engineer of
China Film Group), Mr. Huang Yaozhu (Hualong),
Mr. Lei Zhenyu (Deputy GM of Hualong)
Of course the new Master Primes and the
latest ARRIFLEX and ARRICAM models
attracted crowds of young lmmakers and
students, but also many famous Chinese
DoPs and lm producers until the very last
hours of the exhibition.
The new ARRI Ceramic lighting technology,
the Event Multiple Function System, lighting
kits and new electronic ballast models
rounded up the comprehensive portfolio.
We dont want to miss the opportunity to
extend our thanks to the Jebsen team for
their great support, making this exhibition
a successful event for the whole ARRI Group.
A test drive of the D-20 by Prof. Mu Deyuan (BFA)
41 T r a d e S h o w R e v i e w
Allan Fyfe, ARRI (GB) and George Ilko, Capital FX (f.l.t.r.)
Capital FX and ARRI
June 2005 saw the rst delivery
of an ARRISCAN in the UK to the
Soho based post-production house,
Capital FX. Home already to two
ARRILASERs and the ARRI bespoke
Colour Management System, this
now gives Capital FX the facility
to offer end-to-end quality control
and consistency within the Digital
Intermediate workow.
George Ilko, IT Director at Capital FX is
responsible for specifying and overseeing
the installation of equipment within the
organisation.
?: Starting with the ARRILASER, can you
explain your reasons for purchasing it?
George Ilko: Initially we were asked to
pitch for STAR WARS EPI SODE I I I : REVENGE
OF THE SITH. The client insisted that it had
to be recorded on an ARRILASER, and as we
didnt have an ARRILASER we unfortunately
werent successful. As CFX are a proactive
and client driven organisation we decided
to buy an ARRILASER for future work.
?: So why did you decide to buy two?
George Ilko: Because we were so
impressed with the rst! The sheer accuracy,
delity and quality of the image produced
were outstanding and client demand was
clearly well established. We were also very
impressed with the reliability, consistency
and stability of the ARRILASER. Furthermore,
a very well respected Colourist, Peter Doyle,
advised us the ARRILASER was the best on
the market.
?: How happy are you with the machines,
have they lived up to your expectations?
Were you happy with the service you recei-
ved from ARRI?
George Ilko: So far, they have exceeded
our expectations and we cant fault the
service weve received from the whole ARRI
team. Let me give you some examples, we
had a problem with the ARRISCAN image
ingestion process, I telephoned Roman
Gardner in Munich, and he was on site
within four hours and quickly had the prob-
lem solved! We had another problem with
a lm recorder, telephoned ARRI (GB) in
Uxbridge and within two and a half hours
the Engineer was on site, the problem xed
and the lm recorder was ready to shoot!
As we operate twenty four hours a day,
seven days a week consistency and the
ability to respond when problems occur are
critically important. ARRI understand this.
?: What advantages have you found using
the ARRILASERs?
George Ilko: In a single word efciency.
Theyre located in a carefully controlled
environment and this ensures that they can
perform to their maximum capacity. We
have over engineered the lm recording
environment to ensure complete stabilisa-
tion. Our lm recording room has four air
changes an hour to regulate humidity, we
ensure the temperature remains constant,
the whole room is isolated from vibration,
positive air pressure is maintained to limit
dust and hair particles and the room is
monitored twenty four hours a day. We
recently had a project which involved sca-
ling up an image from 2K to 4K resolution
and won the job because of our ability
to achieve image sharpness, vividness of
colour and consistent quality. Due to the
fact that we rely on ARRI technology for
lm scanning, colour management and lm
recording you could say that without ARRI
this would not have been possible!
?: Do you do much 4K work?
George Ilko: Yes, a great deal, we
recently recorded multiple original version
printing negatives and twenty one foreign
versions of reels one, two and three for
CHARLI E AND THE CHOCOL ATE FACTORY
at 4K, and have recently output the Sony
distribution feature STEALTH at 4K.
a Perfect DI Partnership
42 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
?: Do you see 4K becoming the norm in
the future?
George Ilko: Increasingly more 4K work
is coming through, we have recently installed
an SGI GRIO SAN which is being used for
isochronous real time 4K playback with the
Sony 4K projector. With the ARRISCAN
we are able to scan at 6K and so are very
future proofed! We have just output a fea-
ture called SI LENCE BECOMES YOU, which
was shot digitally and is the rst fully digital
feature lm produced. I think this is very ex-
citing and combined with 4K image quality
bodes well for the Digital Cinema Initiative.
?: What feature lms have utilised the
ARRILASER recently?
George Ilko: Recently we have worked
on CHARL I E AND T HE CHOCOL AT E
FACTORY, BATMAN BEGI NS, RI PLEY UNDER
GROUND, ASYLUM, THE BRI DGE and DEAD
MANS CARDS, which were output on the
ARRILASERs.
?: Moving on to the ARRISCAN, what was
your rational for the purchase?
George Ilko: Consistency, accuracy,
delity, and precision we wanted to stay
with the same manufacturer throughout our
entire workow. By utilising ARRI products
for scanning, colour management and lm
output, we achieved great quality on each
project. ARRI helped us to prole every de-
vice involved in our workow and produce
a LUT that achieved meticulous results. So,
for example, if an image is being projected
by our Barco DP100, the projector has a
colour prole and LUT to ensure faithful
image representation.
?: What advantages do you see with the
ARRISCAN?
George Ilko: Apart from the qualities
mentioned already such as consistency,
accuracy, delity, and precision, I would
include simplicity. The ARRISCAN is extre-
mely easy to use and has a very logical
and intuitive GUI.
?: How did the installation go, did you
receive sufcient training?
George Ilko: The installation went very
smoothly, it was a very slick process. We
are grading images as we scan them,
which involves quality control throughout
our entire workow. ARRI have offered ad-
vanced training in Munich which we intend
to take later this year.
?: What experience do you have of
rescans?
George Ilko: We have recently com-
pleted a repair job on a Paramount produc-
tion called ASYLUM. This involved rescan-
ning the entire feature and colour grading
a more balanced result. The colours and
geometry for rescanned sequences were
absolutely perfect and looked great in
post production. The client was extremely
pleased with the end result.
?: The software, how pleased have you
been with this?
George Ilko: Very satised, again,
like everything with ARRI, the GUI is very
simple, intuitive and well designed.
?: And nally moving on to the ARRI
Colour Management System. What is your
level of satisfaction with the look up tables?
George Ilko: We are extremely happy
with the ARRI CMS. This is an area critical
to our business, and many other post pro-
duction companies. We researched several
solutions from companies such as Kodak,
Baselight/Northlight/Truelight, Rising Sun,
we even held roundtable meetings with
Autodesk, Kodak, Barco, Bell Theatre, and
encouraged open discussions with other
post houses to achieve a greater understan-
ding of colour science and management.
ARRI provided an extremely competent,
efcient, elegant solution to a very complex
problem. In my opinion that is a key
differentiator between ourselves and all
other post houses together with ARRI we
can provide end to end consistency from
scanner to lm recorder to ensure truly
fantastic results.
?: What colour grading tool do you use
with the CMS?
George Ilko: We currently use the
Lustre grading solution from Autodesk and
also have Smoke and Combustion suites.
We are currently involved in the Toxic
BETA program and are strongly allied with
Autodesk products.
?: Do you use the CMS in the ARRILASER
for video to lm shootouts?
George Ilko: Not as yet, but we have
several projects on the go which we intend
to use the ARRI CMS for. Its great to have
the CMS as another tool.
Siobhan Daly
Capital FX
Creative services including title design by our award winning art department
Digital visual effects and post production facilities utilising industry leading applications
such as Smoke, Combustion, Toxic, Digital Fusion, and Shake
Film recording services at 2K and 4K with the largest lm output capacity in Europe
including two ARRILASER lm recorders
Scanning bureau services at 2K, 4K and up to 6K with the latest ARRISCAN
Full Digital Intermediate services in large screen preview theatre utilising Lustre Colour
Grading suite, Barco DP100, Kinoton lm projection and full Dolby Theatre Surround Sound
all proled via the ARRI CMS
Full HD bureau services
State-of-the-art IT infrastructure delivering industry best practice full DI workow
Laser subtitling services utilising Titra technology
www.capital-fx.co.uk
According to Capital FX
they have the largest lm recording capacity in
Europe and can offer clients the following services:
4 3 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
Doyles Digital Intermediate
With titles including THE MATRI X, HARRY POTTER & THE PRI SONER OF AZKABAN, HARRY POTTER & THE GOBLET
OF FI RE, CHARLI E & THE CHOCOLATE FACTORY and all three LORD OF THE RI NGS, Peter Doyle has one of the
most impressive Colorist/DI credit lists in the business. He has used his experience to create a new DI unit at Warner
House in London. By tailoring workows to meet the individual needs of big projects Doyle is able to produce the best
results while driving cost savings and efciencies. ARRI Media London has helped to create and install this workow at
Warner House by providing storage and projection hardware. This solution has enabled an advanced form of colour
management as well as superior quality release prints. Altogether this represents a big step forward for DI and the
cinema experience.
When creating the workow Doyle looked
into what a Director and Director of Photo-
graphy require in DI to realise their creative
ideas. He then examined the infrastructure
to see what could be outsourced. First he
concluded that it was impractical for the
new unit to include lm scanning and re-
cording. We feel weve ended up with the
result where the DoP and Director can walk
in, grade and give their creative input. This
is literally next door to editorial so the
whole interaction is tight. The infrastructure
allows us to tailor the pipeline to an indi-
vidual production. For the larger lms we
feel this is important as each cutting room
works in a slightly different way.
DI Sign-off
Doyles workow required taking tight con-
trol of the colour management throughout
the scan-to-screen process. For scanning
and recording we turn to third parties pick
the best ones, work with them and tailor it
to how we would like it to be. I make
contact directly with the manufacturers of
which the
facility normally could
not do. For example, on Charlie & the
Chocolate Factory DI was just one stage, it
really was the checkpoint for colour, even
down to the publicity stills coming through
the unit, so the magazines look the same
as the lm.
Part of the colour management involves
getting different prints to match. Tradition-
ally this is judged looking at printed lm
but Doyles unit worked in a different way.
A Barco DP100 projector output was used
directly from the DI image data. For this
ARRI created 3D LUTs to allow Doyle to
make adjustments so the projector precisely
matched the colour of the print. Precise sett-
ings for the ARRILASER recorders were used
and after adjustments checked against lm
out with the aid of ARRIs Colour Scientist
Harald Brendel, production was able to
accept the projected DI footage instead of
lm print for the nal sign off. This meant
acceptance that the lm recording and
the particular hardware we are using, in
this case ARRI in Munich for the lm recor-
der, and say, this is what were trying to
do. What can your machine deliver? The
lead times and scale of his projects allow
Doyle to have very true and frank discus-
sions. We said, we need it this way, and
we got the results we wanted.
Throughout the DI process all colour infor-
mation, including printer lights for the whole
lm, is held on a database. The idea of
digital match clips has replaced attempts to
match printed clips with on-screen images
by eye. Now one person does it all and
the light boxes are gone. Doyle describes
the process, Well scan the lm, sit with
the DoP and Visual Effects Supervisor and
decide how we want the shots to look,
grade them, and then issue that metadata
to the facilities houses so they can then get
the scans and download the metadata.
When the Supervisor views it, its the colour
its supposed to be. Also, because were
attached to production and part of editorial,
we can grade the sequence in context
4 4 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
Doyles Digital Intermediate
printing was an accurate, stable technical
process. Besides creating a signicantly
faster workow, the lm was fully graded
at the DI stage, allowing prints straight
from uncut digital internegatives.
Multiple Negative Output
Doyle points out, Because of the scale
of the lms, we require unity. On LORD OF
THE RI NGS we used different labs for bulk
release printing. For CHARLI E & THE CHOCO-
LATE FACTORY we used Cinesite for master
recording, then Capital FX to generate the
six printing negs to be distributed around
the world for the creation of the release
prints. I need complete unity across the
board, all these negatives have to be exact-
ly the same. As the release prints are made
directly from these digital internegatives,
rather than going through the intermediate
process, the quality is really extraordi-
nary. This is the ideal scenario for lm
distribution as Doyle again spoke directly
with manufacturer Fuji, who customised a
print stock to bring the RGB layers closer
together to work better for DI grading and
digital record out.
The quality jump of using multiple digital
internegatives requires that several are
produced rather than the single one used
in the standard lab intermediate process.
The increased speed of the ARRILASER to
1.7 seconds per 2K frame helped but it still
means using multiple recorders that may be
spread over different locations. This angle
has been well covered by the meticulous
Doyle. DI provides a good border control
for the output of all versions of the lm. So
for a trailer, we already have all the shots
graded so we can release the imagery as
the Director requests. They get the digital
shots and a piece of paper saying with an
ARRI recorder, use this set-up, this sharpen-
ing and Kodak Vision print to this aim. It
will look the way the Director intended.
Doyle added, Now its really streamlined.
Tim Burton (Director of CHARLI E AND THE
CHOCOLATE FACTORY) sat in our cinema
here in London on a Thursday afternoon,
we graded shots and on Saturday evening
they were on air, on the American networks
for a commercial and they looked the same.
Doyle concluded, The concept of a central
master is already here. If you look at
CHARLI E & THE CHOCOL ATE FACTORY or
HARRY POTTER AND THE GOBLET OF FI RE
there will be the standard 35mm release
and IMAX release. The window to produce
the HD master is very tight, almost at the
same time and then we have the D-Cinema
release. Likewise, during previews, do you
have a lm or tape preview? If its tape is
that SD or HD? So the control side of how
you keep all these areas looking the same
is achievable but a challenge. Technically
you could argue that its an industrial pro-
cess to take the colour gamut of lm and
convert it into HD gamut. But the reality is
that theres an extraordinary amount of
subjective and creative input needed, as
cinema and TV viewing are very different
experiences. Ideally there would be one
grade but in practice, probably not.
Judith Petty
Peter Doyle
4 5 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
ARRI L ASER
Highest Quality According to
DCI Specifications
2K or 4K what is good enough for the projection of digital data? The DCI (Digital Cinema
Initiative), a consortium of the most important players in the industry, has clearly dened their
specications: Images should have 4K resolution. This also conrms ARRIs approach of
offering a lm recorder that is clearly capable of outputting images at 4K resolution and at the
highest speed that is currently available on the market. Now to top it all, ARRI has started
a project to look into the possibilities of even increasing this high quality level.
The high quality project covers a number of
substantial improvements. These include:
Resolution
With the help of additional and customized
lenses and apertures, the spot size of a regu-
lar 4K spot can be further reduced. Addition-
ally, are and noise can also be minimized
by theses measures. An improved MTF
(Modulation Transfer Function) curve
allows sharper images to be achieved (see
com-parison line pairs).
Dynamic range
The ARRILASER already offers a huge
dynamic range of 2.04 densities. However,
together with the manufacturers of inter-
mediate lmstock, ARRI is currently working
on possibilities to offer an even higher
dynamic range.
Quantization
Up to now the 10 bit log Cineon format has
been considered as the best compromise
between the amount of data and the neces-
sary bit depth. As data storage and le
handling are constantly being improved in
their capability to handle larger le sizes,
a 16 bit data ow becomes reality. With
16 bit data the quality criteria are certainly
beyond all restrictions concerning dynamic
range and quantization. This is the reason
why ARRI is developing a 16 bit data path
for the ARRILASER to ensure that 16 bit data
can be transferred directly onto the lm.
General Image Quality
As a part of the ARRILASERs image pro-
cessing, specically designed digital lters
will be implemented to further minimize
blooming effects. Lasers with modied wave-
lengths will reduce color cross-talk.
About DCI
Digital Cinema Initiatives, LLC (DCI) is a
limited liability company founded by Disney,
Fox, MGM, Paramount, Sony Pictures
Entertainment, Universal and Warner Bros.
Studios in March 2002. The purpose of the
venture is to establish and document the
specications of an open architecture for
Digital Cinema components that ensures
a uniform and high level of technical perfor-
mance, reliability and quality control.
Stability and Reliability
Dependability has always been a strong
argument for our ARRILASER customers
and of course, when looking into improve-
ments, we will also take the opportunity to
update components and continue to make
the ARRILASER the industrys most reliable
workhorse.
As always, an important concern for ARRI
is to protect the investment of our customers
and to supply future-proof equipment. Con-
sequently the renements future HQ pack-
ages will be retrotable as far as possible.
Sibylle Maier
6K rescan of the Marcie image recorded in 2K 6K rescan of the Marcie image recorded in 4K+
4 6 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
The ARRISCAN software team
has now released version 1.0 of the scanners
operating software. This major update enables
a number of powerful new features of the
ARRISCAN system.
ARRI L ASER
Highest Quality According to
DCI Specifications
ARRI SCAN
Making DI Workflow Happen
With the ARRISCAN setting new standards
in quality and productivity, an adequately
potent soft ware is needed to take full
advantage of the ARRISCANs potential to
nish DI jobs successfully and on time.
Each day, facilities around the world are
faced with the ever increasing demands of
their clients, who not only expect highest
quality images, but also data that t seam-
lessly into their downstream processing chain.
The ARRISCAN software was designed
Software can quickly become a
buzzword even in todays totally
digital world, when it is able to
create the most important link in the
postproduction workow.
from scratch to meet this challenge client
by client, day by day, and from job to job.
This latest software release provides the
foundation for future updates that will tap
further into the ARRISCANs potential. These
will include system-wide Keycode support
with Keycode based scanning, as well as
major speed improvements starting with the
ARRISCAN Speed Package, which will be
presented at IBC 2005 and launched later
in September 2005, featuring 4 frames per
second for 2K images at the full ARRISCAN
quality.
The software development team (in alpha-
betical order): Harald Brendel, Michael
Cieslinski, Dr. Peter Geissler, Thorsten Har-
ling, Dr. Achim Oehler, Dr. Jens Rumberg.
El Bernt
Productivity
There are many productivity enhancements,
such as the capability to connect multiple
user interfaces to the same scanner, as well as
a switchable constant illumination for easier
lm loading. A revamped job monitor shows
detailed information on progress and system
status during automated job processing. Key-
codes are displayed live and can be browsed
in the keycode log. Keycode information is
also written into the DPX header for easy
conforming.
Workow
The management of automated scanning has
been enhanced to support parallel processing
with multiple ARRISCAN units. To this end, the
software introduces a new database structure
for managing calibrations and settings for all
scanners in the facility. Consistent results across
different machines are ensured by ARRIs propri-
etary color management technology, which
allows every ARRISCAN to be calibrated to
absolute standards in both color and
geometry.
Usability
The most visible change is the redesigned
user interface. Panels and control elements
were streamlined to make all important system
parameters immediately accessible. Scan
jobs are managed in the new customizable
job editor. As one beta tester has said, this
software is a joy to use.
47 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
Pr eser vi ng t he Qual i t y of t he I mage i n t he
DI Pr ocess
Digital Intermediate (DI)
is one of todays most
exciting and fastest
growing technologies in
digital postproduction of
motion picture lms.
Most individual parts of
the process have been
around for a long time
digital editing, scanning,
digital effects, composit-
ing, and lm recording.
The latest step in the
progression is to apply
the process to the entire
movie.
all details from the scene are captured a 4K
scan is necessary. The trade-offs are scan-
ning time per frame, data transfer times,
and processing costs.
Even more important is to take care that no
aliasing appears in the scans. In digital
imaging, aliasing is a term used, when
patterns are created in an image that were
not in the original. It can be avoided by
scanning in a higher resolution (oversam-
pling) and resampling the image to a lower
spatial resolution with a digital lter or
scanning the image at a lower spatial
resolution and using optical ltering.
Though, optical anti-aliasing lter tend to
produce less sharp images. See gure 2.
The ARRISCAN scans with a native reso-
lu tion of 3K or 6K and produces in this
manner an oversampled image for 2K or
4K resolution.
On the recording side spatial resolution is
also an issue, to guarantee that the digital
2K or 4K les can be transferred onto lm
without any losses. The ARRILASER fullls
highest demands by recording out high
quality 4K les in the unsurpassed speed of
2.9 s/frame.
In spite of all advantages, DI raises concerns
of cinematographers. The motion picture
system has been producing excellent quality
for decades and there is some fear that this
quality may degrade. The traditional method
for post production of motion picture was
relatively simple because there are not many
variables available to be controlled. Digital
color correction can manipulate the image
to practically any degree. Some cinematog-
raphers may wonder if it can maintain the
original intent as well. This article should
give some insights on the important factors
of containing quality in the DI process.
Spatial Resolution
Scanning resolution is one key issue when
it comes to scanner performance. Many
tests and demonstrations have been done
to show the ultimate resolution of lm. Most
scanning is currently carried out at 2K
resolution, i.e. the image is sampled with
2048 pixels per line. For comparison, HDTV
has 1920 pixels per line. 4K (4096 pixels
per line) scans are sometimes performed
for VFX and some productions, SPI DER MAN 2
for example, have been done entirely in
this format. Looking at the digital les in
Figure 1, a 4K scan denitely contains more
details than a 2K scan. To guarantee that
4 8 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
ARRIL ASER
Dynamic Range
Dynamic range is the other key issue mean -
ing the scanner needs to capture the entire
density range of the negative. Even though
this may contain information that will not
be shown in the nal image, it gives head -
room to change the dynamics of a shot to
t creative requirements.
Together with dynamic range comes the
question about quantization. A scanner has
to translate the continuous range of densities
in a negative into discrete digital numbers.
The bit depth, or number of bits per channel,
determines how many levels can be encoded.
Usage of 8 bits results in 256 levels, a
number generally considered to low for
negative lm scanning. One needs at least
256 levels per channel to produce a perfectly
smooth tonal scale. Lower quantization
breaks graduated colors into visible blocks.
The effect is called banding or contouring
and is illustrated in Figure 3. Color process-
ing may make banding visible where the
tonal variation of the original image appears
to be smooth. Therefore, scans with a higher
bit depth than 8 bits are needed as source
for the color correction. To achieve a good
compromise between le size and dynamic
range, the Cineon format has been intro -
duced by Kodak in the early 1990s. Until
today it is a commonly used le format for
lm scans. It uses 10 bits per channel, which
equals 1024 levels, and linearly encodes
the densities of the negative above base.
One code value in the cineon le represents
1/500 log density in the negative. Thats why
it is usually called a logarithmic le format.
The base density of the negative is encoded
as 95 rather than zero, which is to ensure
that the complete lm grain is captured in
the scan. Recording the Cineon image with
an ARRILASER on an intermediate lm
results in a digital IN (inter negative), con -
tain ing the full dynamic range of a negative
shifted by 0.19 log D. This is equivalent to
an optically copied IN (inter negative).
A scanner sees lm transmittance, which has
to be converted to density. Because of this
conversion the internal bit depth needs to be
higher than the output bit depth. See gure 4.
Using 14 bit A/D converters the ARRISCAN
reaches the high dynamic range by combin-
ing a low and a high frame. The scanner
Fig. 1: Comparison between 2K and 4K
resolution: Both images are enlarged
portions scaled to the same size.
The 4K image on the right hand side
displays more visible details and
appears to be sharper than the 2K
image on the left.
Fig. 3: A grayscale gradient in different bit depth: The upper grayscale
is encoded in 8 bits, which gives 256 levels, more than the eye can
differantiate. With each bit depth less the number of levels is halved. The
visual effect seen in the lower bit depth is called banding or contouring.
Fig. 2: Aliasing in digital image: Both images
were down-sampled from a higher resolution.
To make the effect more visible an enlarged
portion is shown. A proper digital filter was
used for the upper image and it does not show
aliasing. In the lower image no filtering was
applied producing an edgy structure in the
diagonal lines. Aliasing can also increase the
noise or grain in an image as shown in the
enlarged face.
49 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
800
600
400
200
90 % White
18 % Gray
2 % Black
0 10000 20000 30000 40000
L
o
g

C
o
d
e

V
a
l
u
e

(
1
0

B
i
t
)
Sensor Code Value (16 Bit)
takes two exposures per channel. The rst
one (Figure 5 left hand side) captures the
negative densities up to 1.0 log D. The
second one (Figure 5 right hand side) is
done with 10 times more light and captures
the densities above 1.0. Both images are
combined into a true 16 bit le.
On the recording side the ARRI L ASER is
the only lm recorder that produces the
same density range as an optically created
internegative, which is usually 2.0 log D
above base. It is also important that in a DI
process the recording is done on interme-
diate material to avoid introducing of
additional grain.
Color Management
A Cineon le presents a positive image but
otherwise it keeps the characteristic of a
negative. One could regard it as the digital
version of an interpositive. It looks at, the
blacks are too high, and the whites are too
low since the additional tonal values below
and above are linearly encoded as well.
Like lm negatives, cineon images are not
meant to be judged by the human eye.
Nevertheless, a colorist has to use those
les for the color correction. This is usually
performed on a CRT Display or a DLP
projector. By applying a 1D-LUT (see gure 6)
the greyscale characteristics of the image
would be displayed correctly, but the colors
of the lm would look neither like the colors
of a print from the OCN, nor like the colors
of the print from the recorded IN. Therefore
a 3D-LUT (see gure 7) is necessary to
display digital images that match the tone
scale and colors of print lm.
ARRI offers 3D-LUTs for several grading and
display systems.
Summary
To maintain the image quality in the DI proc-
ess a thoroughly knowledge of the process
is necessary to decide which is the correct
way to go. It might always be a compromise
between time, budget and quality. The
ARRISCAN and the ARRILASER are able
to deliver the highest quality and the usage
of that high quality in the complete chain
gets more and more feasible by growing
computing power.
This article is an excerpt of The Companion
to Digital Intermediate written by Harald
Brendel. To read the full length document
please visit our web side www.arri.de.
Harald Brendel and Sibylle Maier
Fig. 4: Relation between sensor signal
and log encoding: About 500 16 bit
code values represent the range of
800 to 900 cineon code values.
If the sensor had less than 14 bit reso-
lution it could not produce the desired
resolution of 1/500 log D.
Fig. 5: Low and high image used in the
ARRISCAN: The upper right image is
captured with ten times more light than
the image on the left hand side. (If you
are thinking the order is reversed, remem-
ber that a negative image is scanned.)
The left image is shifted down by the
equivalent of 1.0 log D, while the right
image is shifted up. The resulting images
in the second row are combined into one.
Fig. 6: 1D-LUT: In a LUT each input value is processed without looking at the values of the other color
channels. In the example the red input value 50 is transformed to 70 no matter what the values in the
green and blue channels are.
Fig. 7: 3D-LUT: A 3D-LUT defines for each input color triple an output triple, in the example the red input
value 50 is transformed to three different output values depending on the green and blue values.
5 0 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
ShortCut in Copenhagen
A R R I S C A N A T N O R D I S K F I L M
First ARRISCAN
in Russia at
Mosfilm
Nordisk Film ShortCut is one of the
leading companies in Scandinavia for
digital postproduction, and part of Nordisk
Film A/S, the worlds oldest lm company,
founded in 1906. The company operates
facilities for lm production, lm laborato-
ries and digital postproduction in Denmark,
Sweden and Norway. Already in 1985
Nordisk started telecine and postproduc-
tion services for video as a department
of the Filmlaboratory Johan Ankerstjerne.
In 1995 they bought equipment for digital
scanning of lm and a lmrecorder.
The rst 4K scanner we bought was a
Kodak Genesis with Kodaks Cinesite
workstation and a Solitaire CRT lmre-
corder. A commercial for a Cocio choco -
latemilk drink, was one of the rst produc-
tions we did. After this we did 14 minutes
of special effects inserts for a feature lm
called BARARA, made in 4K, but this is
history today, says Ivan Schmidt, Film
production supervisor. Nordisk Film Short-
Cut has since also made numerous com -
mercials and feature lms in 2K. We
have also bought a Philips Spirit Cine
Data scanner and telecine, which we
foremost use as telecine for HD-video to
HDCAM SR 4:4:4 lm production.
In the beginning of 2004 ShortCut
decided that it was time to build a new
and second line for a high quality and
digital lm to lm post production. Ivan
Schmidt tested all available scanners on
the marked with their own specically
selected and produced lm material.
After intensive testing the choice was
clear without any doubt the results
indicated an ARRISCAN.
First of all it was its superior image quality
that keeps the lm look. Fast scanning
and winding speed, together with a very
user friendly interface the reliable mechan-
ical quality made the choice easy. The
price was also a important factor, and
we got the best value for the invested
money by choosing an ARRISCAN, says
Ivan Schmidt. Another factor were our
good experiences and records with the
ARRI L ASER lmrecorder.
From the beginning on, there were two
ARRILASER recorders at ShortCut. After
a highspeed upgrade the capacity was
doubled, and it was possible to send one
of the machines to the sister company in
Stockholm. Today ShortCuts remaining
ARRI L ASER has already exposed over
13 million 35 mm frames. And also service
and software updating turned out to be
absolutely awless.
The fact that ARRISCAN internally utilizes
a 3K resolution, which is converted to 2K.
This can easily be recorded as 4K to
35 mm IN in the ARRILASER, which gives
us not only a fantastic quality but is also
very cost effective compared to scanning
in 4K, says Ivan Schmidt. After scan-
ning, the digital post production is done
in Flame Tezro and Lustre Incinerator
from Autodesk.
Hans Hansson, FSF
On August 5th 2005 the rst ARRISCAN
was delivered to Moscow. The long-time
famous Moslm strongly relies on the DI
process for quite a while, according to Mr.
Karen Shakhnzarov, Moslms CEO. After
thoroughly testing all scanners available,
there was a clear decision to choose the
advanced technology of the ARRISCAN.
With this latest addition, Moslm completes
its existing line of ARRI DI products. With
the ARRILASER already in use for several
years now, Moslm completes it post-
production chain that also includes a Lustre
color-grading suite.
The arrival of the ARRI SCAN, has turned
into a news event as the postproduction
facility had to be modied to accommodate
the new equipment. Representatives of ARRI
and PROLINE were on site to move the
ARRISCAN into its new home with a TV
team under Christoph Wanner from the
German broadcast station Deutsche Welle
documenting the action.
Best of success to Mr. Shakhnazarov and
his team.
Thomas Popp
Karen Shakhnzarov, CEO Moslm, and Thomas Popp
The ARRISCAN oating into
the lower oor
Done with all feet
on the ground!
Ivan Schmidt
(right) and
Morten Lynge
51 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
Michael Moncreiff, Head of Imaging
This company understands lm forward and
backward, says Head of Imaging Michael
Moncreiff, who was brought on three years
ago by Pacic Titles President Phil Feiner to
grow the scanning and recording business.
He explains that the company made a con-
scious choice to start out focusing on scann-
ing and recording as a service. When I
came onboard, he recalls, the bigger guys
were focusing on digital intermediate work
at the time so outside vendors like us had
time to grow. Now we service about 50
other companies around town.
Were open twenty-four hours a day, seven
days a week. We offer phone service from
7 am to midnight every day. We embrace
lm and we understand the concerns of the
major clients who rely on us. The people at
ILM came to us with the bulk of their scann-
ing and recording because they are impress-
ed with the quality and the service we offer.
A lot of times on big lms, the work is being
done until extremely close to the release
date and our clients know were here at the
11th hour for them.
The impressive list of features that have
passed in and out of the digital realm at the
facility includes the Steven Spielberg block-
buster WAR OF THE WORL DS, the fourth
HARRY POTTER lm and the second and third
installments of the Disney franchise PI RATES
OF THE CARI BBEAN. Most of the major
studios have had lm scanned and les
recorded out at Pacic Title.
The facility also does a signicant business
recording out trailers, which are almost
always nished these days as digital les in
either 2K or 4K resolution, and theatrical
commercials, which generally come in as
standard denition or high denition video
formats to be lmed out on the companys
ARRILASERs, We do ten trailers a week,
Moncreiff says. We scan the lm, assemble,
and color correct in our digital intermediate
bay and then shoot out multiple negatives
with our ARRILASERs.
Moncreiff stresses the advantage of not being
tied to a specic lab, as the major digital
intermediate houses now are. Recorded nega-
tives can be calibrated to the specic chemis-
try at Deluxe, Technicolor or Hollywood Film
and Video, depending on where the custo-
mer plans to do the photochemical work.
No matter where youre doing your process-
ing and printing, he says, you can be
assured that your lm will work with their
soup. Clients can come to us as a neutral
party and we can go to any lab seamlessly.
In order to ensure perfect calibration with
each lab, Pacic Title records out lm every
day and sends it to each lab for processing
in order to keep track of even the slightest
variance in density resulting from minute
temperature or chemistry changes at the lab.
Moncreiff reports that he was involved in the
companys rst ARRILASER purchase as soon
as he began setting up the scanning/record-
ing service. It was an easy decision to go
with ARRILASERs, he says, because of their
image quality and reliability. The ARRILASER
is just a very stable machine. So we bought
two right away. Then we scaled up to four,
and then six. Right now, we have all six going
every night. We put half a million frames
through our ARRILASERs each week and
were about to add two more.
Because more and more feature lms are
being nished digitally, studios are taking
seriously the issue of archiving this material.
Since no digital format has yet been invented
that is considered truly archival by the studio
experts, these lms are still preserved the
way lms have been preserved for decades:
as black and white separation masters.
YCMs (which capture the blue, red and green
record respectively, on strips of nearly
indestructible black-and-white lm) are still
Pacic Title has been a major player in the post-production industry almost
since that industrys inception. Now in its 87th year, the companys sister
facility Pacic Title Imaging, located a few blocks from the main building
in Hollywood offers state of the art services for clients working in the
digital realm. The services include full digital intermediate work, digital
separation masters for archival purposes and it continues to function as a
major scanning and recording bureau for many major studios and visual
effects houses, including Industrial Light and Magic, which recently de-
cided to stop performing those services internally.
Pacific Title
Pacic Title Imaging the studio
52
the method of choice for archivists. When
stored in cool, dry environments, these easi-
ly recombined elements are expected to last
centuries.
But when the original (rst generation, so to
speak) versions of these images are actually
digital les, it makes a great deal of sense
to generate these YCMs digitally. Doing this
properly, so that the yellow, cyan and ma-
genta records actually recombine perfectly,
is more difcult than it might seem. It requires
a precise understanding of the relationship
between the lm and the digital color
spaces involved.
You have to be very careful about gamma
issues, says Moncreiff, describing Pacic
Titles proprietary, patent-pending process to
divide the color information into the three
channels and record it out using ARRILASERs
into three perfectly registered strips of archi-
val black-and-white stock. When you re-
combine them, the goal is to make an exact
duplicate of the approved answer print every-
one loved before duplication.
This can be especially difcult because the
approved answer print very often contains
some nal color adjustments that were
achieved after the completion of the digital
intermediate work. A lot of digitally timed
lms still get ne-tuned in the lab after the
lm out, Moncreiff says. Ideally, the YCM
should reect those changes too. So another
piece of our patent pending process is to
factor that in and make [the YCM reect]
what the print looks like, not just what the
color corrected les look like and that can
be pretty challenging. Then, as the nal
step, we process the black-and-white separa-
tions ourselves in our own lab that we use
only for this kind of work. We use a specic
method for the lab work that is also part of
our unique process.
With digital technology changing so rapid-
ly, it is very possible to nd that the original
digital les of a show done just a few years
ago are now completely unsupported. So
to further help service the archiving portion
of its business Pacic Title also maintains
equipment to play back any of the evergrow-
ing digital storage formats. We have LT01,
LT02, DTF1, DTF2, DLTs and all the rest of
them, says Moncreiff. The company
started buying Metrum drives in the early
1990s and we still maintain them.
Though Pacic Title is not interested in moving
exclusively into digital intermediate work, it
does possess a state-of-the art DI suite and
employ a highly respected colorist. Films
such as THE RI NG 2, EARTHLI NG and DEUCE
BI GELOW 2 have all been done in the com-
panys DI suite with Colorist Doug Delaney
at the luster color correction system. We
want to do more DI, says Moncreiff, but
we also want to remain a boutique to make
sure we can give our undivided attention to
the lms that come here.
Whether scanning, recording or doing digi-
tal intermediate work, Moncreiff stresses
the importance of top-notch service. When
we were doing the lm recording for
Michael Bays sci- action T HE I SL AND,
he says, we spoke with the people at
Company 3 [the site of the digital coloring
sessions] virtually every hour. They would
send color cubes here and we would shoot
color passes for them with the ARRILASER
very frequently so we could both check each
other. This kind of work has to be so precise
and its always good if we can hold hands
through the process.
The time-sensitive and expensive work in-
volved in the digital intermediate process, he
adds, is only as valuable as the image pro-
cessing that goes into getting those frames
into and out of the digital realm. Our philo-
sophy is we want to match the negative as
closely as possible, he explains. Were
very careful with the way we scan or sharp-
en or dont sharpen and generally mani-
pulate the images that pass through here.
And I think that really true lm purists ap-
proach has paid off because we win all sorts
of jobs purely as a result of blind bake-offs.
Filmmakers look at our work and the compe-
titions without knowing who did what, and
time after time they prefer the work that came
out of Pacic Title.
Moncreiff would like to see the company
continue to grow as it has since his arrival.
We want to do ten to twelve digital inter-
mediates a year, he says. And wed like
to grow our trailer and theatrical commer-
cial work and really build up our YCM
services too.
But, Moncreiff stresses, the companys core
business has been, and will continue to offer
top-level scanning and recording services
to high-end clients. Weve been very
successful with the service bureau portion of
our business and we have every intention
of continuing to offer that level of service.
Thats why were about to add the two new
ARRILASERs to continue to support the
growing demand.
Jon Silberg
CMY-Separation of lm image in the respective colors
53
Jrgen Schopper
A Fair y Tale
On the Hunt for a Thief
THE ROBBER HOTZENPLOTZ is a comedy fairy
tale. We wanted this to be a story with a
big cast, unusual scenery, spectacular
costumes and many special effects, and
that is exactly what we did, beams a
proud Ulrich Limmer, producer und co-
scriptwriter, whose enormously successful
family entertainment lms include THE
SAMS and THE SAMS I N DANGER. I am
especially happy about the way everyone
on this team, from our outstanding actors to
our technical crew, got personally engaged
and had their hearts in their work.
The lm version of the legendary classic by
author Otfried Preuler is a co-production
of Ulrich Limmers Collina Filmproduktion
GmbH and the lms distributor, Constantin
Film. Funding was also provided by the
FFF (FilmFernsehFonds Bavaria), the FFA
(German Federal Film Board), the BBF
(Bayerischer Banken Fond) and the BKM
(Federal Government Commissioner for
Cultural and Media Affairs).
Ulrich Limmer was able to win over the
experienced and successful Gernot Roll to
be the projects director and DoP. Together
with his crew, Roll approached it with great
enthusiasm: For me, lmmaking is an
eternal childhood.
THE ROBBER HOTZENPLOTZ was lmed over
42 days in the Franconian cities of Selach
and Burgpreppach as well as in Prague,
using 35mm lm in the 3-perforation process.
Manfred Brey was entrusted with the weighty
responsibility of production manager.
Ulrich Limmer and Manfred Brey turned to
Angela Reedwisch und Walter Brus of ARRI
Film & TV to support them in the making of
THE ROBBER HOTZENPLOTZ. All the services
ARRI offers were used. Three 35mm 3-per-
foration-cameras a 535B, ARRICAM ST,
and ARRIFLEX 435 with LDS Ultra Primes
and a 24290 Angenieux Optimo Zoom
as well as the ARRIMOTION system were
supplied by ARRI Rental in Munich. Lighting,
lm lab services, scanning, mixing, an
AVID-Adrenalin Suite, and of course the
complete Digital Intermediate also came
from ARRI. The lm was color graded entire-
ly in 2K resolution in the Lustre/Barco suite.
Particular attention was given to the music
for THE ROBBER HOTZENPLOTZ, so the
renowned lm-composer Nicola Piovani,
who won an Oscar for his music to Roberto
Benignis lm LI FE IS BEAUTI FUL, was
brought onboard to write the lms score.
Kasperl Theater, alias Punch and Judy
The sub-title of Otfried Preulers THE
ROBBER HOTZENPLOTZ is a Kasperl story,
underscoring the tales roots in the Kasperl
Theater, a classic German form of
Im known far and wide for stealing what catches my eye brags the great robber Hotzenplotz (Armin Rohde).
If Hotzenplotz had not stolen Grandmothers (Christiane Hrbiger) beloved coffee grinder, then Kasperl (Martin Sthrk)
and Seppel (Manuel Seitz) would not have set out on their perilous search, trading hats, so that the thief
cannot recognize us. Then perhaps the town watchman Dimpfelmoser (Piet Klocke) and the clairvoyant Madame
Schlotterbeck (Katharina Thalbach) might not have met (together with the dog Wasti, who was transformed into
a crocodile), and the fairy Amaryllis (Barbara Schneberger) would have remained forever imprisoned in the dungeon
of the evil wizard Petrosilius Zwackelmann (Rufus Beck). Yet in the end, everyone receives just what they deserve:
fairy herbs, potatoes, a miniature castle, a gold wagon full of sand and Grandmothers beloved coffee grinder.
THE ROBBER HOTZENPLOTZ
THE ROBBER HOTZENPLOTZ
5 4 Di g i t a l I n t e r me d i a t e_Wo r l d wi d e o n t h e Mo v e
Director and DoP Gernot Roll, the robber Hotzenplotz Armin Rohde and Producer Ulrich Limmer (f.l.t.r.)
Otfried Preuler approved of and
enjoyed the lms script.
Ulrich Limmer: It was our goal to retain
the original storys fairy tale quality, its
playfulness, its naivet. THE ROBBER
HOTZENPLOTZ is set in a time when thieves
still existed who were satised with stealing
coffee grinders. Modernizing the story
would have been the death of this film.
A fairy tale is timeless.
Analog and Digital Magic
For THE ROBBER HOTZENPLOTZ, Gernot
Roll consciously employed simple, long-
standing special effects techniques to
create the lms naive, fairy tale look: stop-
trick, 3M reective gels for the fairy herbs,
real steam and smoke, mini-explosions,
double-exposures, and numerous day-for-
night shots, many of which were inspired
by the long tradition of Russian and Czech
fairytale lms.
Nonetheless more than 100 computer
effects were also added to the lm at ARRI
Digital (post-production producer: Philip
Hahn), such as title and credits, blue and
green screen composites, wire removals,
digital matte paintings, as well as complex
computer animation. But all these costly
digital tricks were never employed just to
create a special effects lm but to tell a
story the Kasperl Theater story.
THE ROBBER HOTZENPLOTZ opens in German
theaters on March 30th, 2006.
Ulrich Limmer and Gernot Roll were
interviewed by
Prof. Jrgen Schopper
Armin Rohde, Gernot Roll, and Camera Operator Michael Praun (f.l.t.r.)
Credits
Director and DoP:
Gernot Roll
Cameraoperator:
Michael Praun
Gaffer:
Harald Hauschildt
Sound Mixer:
Tschangis Charokh-Zadeh
Editing:
Horst Reiter
VFX Supervisor / Creative Director:
Prof. Jrgen Schopper
Digital Color Grading:
Traudl Nicholson
childrens puppet theater. And indeed all
characters of the typical Punch and Judy
story are there: the thief, Kasperl and
Seppl, the grandmother, the watchman, the
evil wizard, the fairy, the clairvoyant, and
even the crocodile. But as Gernot Roll
explains: The Hotzenplotz stories are
naive, in a positive sense, naive like the
fairy tales that are the place where
children go to nurture their dreams. We
tried to bring that naivet to our film.
The comedy of THE ROBBER HOTZENPLOTZ
arises from the quirky nature of the storys
characters: A thief that begins his thievery
punctually each morning and with equal
punctuality takes his midday break, a
wizard who ies on a magic cape but,
despite his all of his powers, cannot peel
potatoes, a fairy who worries that her beauty
will fade, and a country sheriff who solves
his cases with the help of a clairvoyant
who herself has transformed her dog into
a crocodile.
A worldwide success, the Hotzenplotz
stories have been translated into more than
34 languages and have sold more than
4.9 Million copies.
Kasperl Film
The script generally remains true to the
original books but combines them to one
cohesive story with all the books charac-
ters. While the lm takes some small artistic
license with the original story, author
THE ROBBER HOTZENPLOTZ
THE ROBBER HOTZENPLOTZ
55 Di g i t a l I n t e r me d i a t e_Wo r l d wi d e o n t h e Mo v e
Digital Intermediate
and the New Lustre Grading Suite at ARRI
After completing one of Europe's most modern sound mixing studios in 2002, ARRI undertook the
construction of a new project for the postproduction of features: a state-of-the-art color-grading studio for
the Digital Intermediate (DI) process was recently opened at the Munich facility, featuring cinema-quality
projection and seating for twenty. Thus a strategic and service oriented postproduction concept became
reality: A large screen and a 2K Barco projector allow clients to optimally color-grade their lms under
lm theater conditions. Comparable facilities had hardly existed in Europe until now.
ARRI began to move beyond the HD track
for digital color-grading with the release of
the ARRISCAN in 2004. The workow for
high resolution post-production of the high-
est creative and technical standards is now
carried out entirely on a digital 2K/4K
platform.
Digital Intermediate with Lustre Technology
The new color- grading studio at ARRI
Munich is equipped with the Lustre software
from Autodesk. This color-grading software
is based on the printer lights of the traditio-
nal lab and enables the seamless combina-
tion of various media and materials. The
processing is done with the same red, green
and blue lights as in the traditional process
explains Henning Rdlein, Head of ARRI
Digital Film. However, the Lustre software
also permits selective work on specic
areas in the frame, or over time, and there-
by achieves a much higher level of preci-
sion. There is no need to correct the entire
scene or frame one could easily correct
the saturation or just individual colors in a
particular scene. Another great advantage
of Lustre is that you can immediately see
the results in a preview mode, and the
result is reversible, i.e., you can correct,
preview, undo, until the client is 100%
satised. While cinematographers are
certainly well versed in traditional color
grading, this digital variation of that process
is more precise.
ARRI colorists are experienced in both the
traditional analogue workow and the
digital color- grading. They are trained by
colorist Florian Utsi Martin, who knows
the system inside out: He worked on all
three parts of THE LORD OF THE RI NGS with
the color-grading team in New Zealand,
and has color-graded numerous local and
international feature lms using Lustre after
re-joining ARRI.
So far the new system was employed at
ARRI on the post-production of the follow-
ing features, to name a few: TRI STAN &
I SOLDE (Prod.: 20th Century Fox, Director:
Kevin Reynolds, DoP: Artur Reinhart), VOM
SUCHEN UND FI NDEN DER LI EBE (Prod.:
Diana Film/Fanes Film; Director: Helmut
Dietl, DoP: Jrgen Jrges), SI EGFRI ED (Prod.
Constantin; Director: Sven Unterwaldt, DoP:
Peter von Haller), DER FI SCHER UND SEI NE
FRAU (Prod. Constantin; Director: Doris
Drrie, DoP: Rainer Klausmann), NVA
(Prod.: Boje Buck; Director: Leander Hauss-
mann, DoP: Frank Griebe).
DER FISCHER UND SEINE FRAU & Digital
Intermediate
Director Doris Drrie was able to get a rst
impression of the Lustre System on the post-
production of her feature DER FISCHER UND
SEI NE FRAU: I was overwhelmed by the
result, and also by what one can do in
digital post-production e.g. completely
change the look of an image with Lustre.
Such precise and extreme manipulation
simply is not possible with optical methods.
Once one has worked with such digital
systems, one never wants to work with the
old methods again.
According to Drrie, the look was already
decided on before production commenced.
But how far one can go to extremes is
always a question of technology, DoP
Rainer Klausmann notes. However, the
decision to work with DI and Lustre came
later, in part because the Second Unit had
to create many time consuming underwater
shots in HD. We needed shots of sh that
swam alongside each other and breathed
as though they were speaking, so that we
could sync up sound to the lips of the sh
later during sound-mixing. Also, the colors
had to change and strengthen from shot to
shot, to give it all a fairytale look. It
was just not possible using analog
technology, but the Lustre system
was superb, reports Rainer
Klausmann, whose lms
DAS EXPERI MENT and
5 6 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
Digital Intermediate
and the New Lustre Grading Suite at ARRI
DER UNTERGANG were post produced using
analog systems.
We never would have thought that a color-
grading system would give us so many crea-
tive opportunities to manipulate the entire
color scheme. This was especially impor-
tant for this feature and all its fantast y
elements. Color- grading with Lustre was
insanely good, thanks also to the wonder-
ful work of our digital colorist, Traudl
Nicholson. It was wonderful to work at the
limit, with cutting-edge technology and a
really competent team, says director Doris
Drrie. I wish I had had these opportuni-
ties earlier, but they simply didnt exist. The
Lustre software makes so much possible,
conrms Rainer Klausmann.
Asked whether she is now addicted to the
new creative workow, as Helmut Dietl
announced after color-grading his lm VOM
SUCHEN UND FI NDEN DER LI EBE with Digital
Intermediate and Lustre technology, she
adds: Lets put it the other way around:
Im worried when there isnt enough money
in a project to go the digital route, and one
has to go back to traditional post-produc-
tion. Because once you know about all the
possibilities in DI you never want to miss
them again.
Cinematographer Frank Griebe, who ex-
perienced digital color-grading at ARRI on
the feature NVA, concurs, I was amazed,
fascinated and impressed by the inexhaust-
ible creative opportunities this system offers,
opportunities that simply did not exist with
traditional color-grading in a lm lab.
ARRI offers its clients two alternative digital
color- grading packages: inexpensive
pri-mary color correction at Lustre Grading
Stations using high-end monitors, and the
Deluxe package in the big Lustre Master
Station with secondary color- grading
and theater feeling, large screen and 2K
projector.
Primary color grading digitally in the
Lustre Grading Station
Even Sepp Reidinger, head of ARRIs film
lab is convinced of the advantages of
digital color grading: Let us start with the
primary package, where a primary color-
correction is performed on PC using high-
end monitors in the Lustre Grading Station.
A colorist using this system can alter the
color values both dynamically and in the
most minuscule steps (RGB- grading). For
example, the colorist can change white
value, black value, gamma settings, image
density and saturation. You cannot do all
that with an analog system. Digital color-
grading in Lustre simply does by far more
than the traditional analog route in the lm
lab. It is not better than a lab, but it is
better than traditional analog color- gra-
ding. And these advantages especially
come to bear in the primary grading
process.
High end color grading in the Lustre Suite
The Deluxe package, where the lm gets its
ne-tuning, is performed under real cinema
conditions. The Lustre Suite is 80 square
meters large and has seating for twenty.
Clients view the results of the grading pro-
cess on a 26 square meter screen served
by a Barco DP 100 projector.
The state of the art
grading suite with
theatre projection
VFX-Shots (explosion), for NVA, 3D animated
at ARRI by Markus Drayss
57 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
Henning Rdlein comments:We are often
asked: why the large screen and projec-
tor? Clearly, to approximate the lms later
projection size as closely as possible. After
all, we are making feature lms intended
for the big screen. Therefore we want to
screen the image as large as possible. The
client should have the proper sensation
and experience, should be immediately
taken in by a projection that encompasses
their entire eld of view. The emphasis is
now, not later like in the traditional route,
where you had to wait for a print to see
the lm in the correct gamma in the ARRI
cinema.
The projection screen is 5.6 meters wide
and suitable for 1.85 and Cinemascope.
The Barco DP 100 projector is used as a
reference projector with settings speci-
cally for lm grading. It also can work with
3D lookup tables in realtime. This means
that the color rendering as it will be later
seen on lm can be simulated on the y,
in realtime. To phrase it differently, the
client can see from the start how the lm
recorder and raw stock will react in the
nal stage of the post-production chain.
Since digital projection and lm projection
are closely matched, we can see exactly
what the end result will look like, Henning
Rdlein promises.
As Dorrie Dorrie can conrm: At rst I
could not believe it, but this system allows
us to experience the film the way the
audience will while still working on it.
Previously, this type of work was a kind of
interpolation one had to have the skills to
imagine what the nal product would look
like on screen. When you use a large screen
and projector to view the grading process,
you see everything 1:1, the way it will be,
and that just simplies the work enormous-
ly.. Rainer Klausmann was also impressed
by the performance of the Lustre Suite:
I was amazed that the digital projection is
truly identical to the release print, and its
all viewable in the proper size at the ARRI
theatre. The Lustre suite is simply like a little
theatre. DoP Frank Griebe had a similar
experience: Grading on a big screen with
the 2K projector offers a completely new
and amazing way of working.
Theatre projection or monitor?
ARRI digital colorist Rainer Schmitdt notes
that sometimes clients who work this way
the rst time have problems with the differ-
ence between a light-emitting source like a
monitor, and the illuminated, reflective
screen, because so far they had to work on
a monitor only. For years it wasnt even
technically possible to render images on
screen and on monitor identically. Only
now has this become feasible with the
Color Management System (CMS) that was
developed by ARRI and is now in use at the
new facility.
Advantages in workow precise and
effective
Apart from the digital primary correction,
e.g. accurate color shading, variable satur-
ation, adjustable gamma, black and white
values, the secondary step allows specic
areas in the frame to be easily and quickly
modied with so-called shapes.
You simply create the desired shape with a
few mouse clicks, colorist Utsi Martin ex-
plains. This way oval, triangular or rectan-
gular shapes, even complex hand drawn
masks, can be crossfaded and animated
during the shot. Think about the shape of
certain object or of a face.
Henning Rdlein continues: To stick with
this example: you can change a persons
face, give it a different color, even make it
smaller; basically everything can be shaped
dynamically. The advantage: you can see
this mask right away, subtract it from the
background, or combine several shapes. If
you dont like it no problem, just undo it.
It works in quite a similar fashion as in Pho-
toshop on your computer. It is also possible
to perform a secondary color-correction by
modifying only a specic color or color-
range. This option isnt available with the
primary version where the entire image is
just modied as a whole, like applying a
color lter.
ARRI denes the Digital Future
As far as marketing is concerned, Henning
Rdlein points out that ARRI is making a
statement with the digital grading suite and
is sending a signal for in-house activities as
well: We wont wait until nobody wants to
go the traditional post-production route any-
more, because we see where it is heading.
In the future color-grading for most features
will be done in theater-like digital grading
suites. Today we are already able to offer
this setting to our clients with a projector
and a big screen, says Sepp Reidinger.
The Master-Station as color-grading theater
All ARRI Lustre stations are networked to-
gether and have 26 Terrabyte total storage
capacity. Theoretically, we could work on
ve feature lms of 100 minutes each and
with 2000 edits. We dont do that, but we
do keep completed lms on the drive for
some time, since subsequent short edits are
often necessary for television or foreign
distribution. And then there are the trailers
and teasers, which the system creates more
or less automatically once we enter the
EDL, explains Henning Rdlein. This also
offers a decisive quality advantage: There
is no need to duplicate the nal print to
Director Doris Drrie (right) DER FISCHER UND SEINE FRAU
58 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
ARRIBA the Online Por tal
edit it into a trailer. Trailer, teaser and all
versions of the lm have the same quality
and appropriate color timing as the release
print. There are no second and third gene-
ration prints of increasingly diminished
quality. This is a very important point, since
the trailer is often one of the films most
important advertising tools, and it should
not be of lesser quality than the lm itself.
Considering the future, the collaboration
with ARRI and the digital post-production at
ARRI Digital Film, Frank Griebe sums it up:
Grading Boje Bucks feature NVA was the
rst opportunity for me to work on a Digital
Intermediate in the new grading suite and
the Lustre system with Traudl Nicholson,
big screen and 2K projection and Im
amazed! Thats why Im looking forward to
my next project as DoP, the Constantin Film
production DAS PARFM with director Tom
Tykwer, where digital color- grading is
already scheduled.
Jochen Hhnel
Frank Griebe with Director Leander Haussmann
Satisfied Lions
ARRI says Thank You
The 14th annual ARRI brunch took place in
Cannes during the Lion Festival. On the
guestlist were the most renowned lm pro-
ductions, agencies and directors all of
them from the commercial sphere. Besides
the first class catering, the event, on the
terrace of the Carlton hotel, offered the
possibilit y of making contacts and/or
discussing future projects in a pleasant
atmosphere. Happy faces, satised appe-
tites and hopefully many new ideas and
Ernst Kalff, manager and
producer of Rapid Eye
Movement (REM),
interested in the D20
projects were the result of the successful
celebration. ARRIs Commercial Department
would therefore like to wholeheartedly
thank its clients.
Julia Eberl
ARRIBA is the name of the new ARRI/
commercial internet data exchange plat-
form. From now on our customers can easily
up- and download data and files, e.g.
commercials. This brings tremendous advan-
tages, both logistically and in regard to
time: There are no shipping times anymore
when screening a commercial in another
cit y or country. Just upload the desired
commercial and watch or download them
through the password protected area of
ARRIBA.
ARRIBA serves as a portal as well as an
archive. It is almost impossible to exceed
the provided storage capacit y. ARRI
customers can upload any spots that have
ever been produced and archive them. It is
also possible to upload a single spot into
the password protected area to make it
available to clients without allowing access
to the entire archive.
ARRIBA is an ARRI in-house development
and as such optimized for the requirements
of ARRI customers.
Contact: Philipp Bartel,
phone 089/3809-1514, pbartel@arri.de
The design was created entirely on the In-
ferno from a single white frame and one
mask, with the color scheme maintaining
the ARRI corporate identity. The nal result
is also featured on the Showreel-DVD.
www.arricommercial.de
Julia Eberl
New Homepage
Following an extensive facelift, the internet
site of the Film & TV Commercial Depart-
ment welcomes its visitors with a new look.
On the new homepage one may view the
suites and examples of the latest spots and
get to know the complete team. The site is
clearly structured and despite the attrac-
tive animated elements avoids being to
playful.
NVA
59 Di g i t a l I n t e r me d i a t e _Wo r l d wi d e o n t h e Mo v e
ARRIs exciting new xture design provides an optimum choice for productions
requiring maximum light output. 50% brighter than a 12k Par;
15 50 continuous beam spread; Arc like shadow quality and a lensless
design makes the ARRIMAX 18/12 a new concept in location lighting.
Combining the variable beam spread of a
Fresnel and the light output of a PAR, the
ARRIMAX uses a unique reector concept
for beam control, which eliminates the need
for spread lenses. The optical system with
its 580mm (22,8) diameter specular, at-
ted reector is adjustable and provides
continuous focus from 15 50.
Because the ARRIMAX does not require a
set of spread lenses, the shadow quality is
sharper and easily cut. Initial customer
responses have compared the light quality
to arc lights.
New 18,000W Single Ended lamps use a
sturdier GX51 lamp base for which ARRI
engineers have designed a special lamp
mechanical stress from the lamp pins, which
now serve only as an electrical connection.
The lamp clamping mechanism is self-
aligning and uses a rugged, recessed lamp
lock handle. To ensure that crews can easily
use 12,000W lamps or versions of 18K
Single Ended lamps with G38 bases, the
new lampholder accepts either lamp type
with no modication or adjustment required.
ARRI engineers created an optimized solu-
tion for the optical system, which placed
new demands on the reector manufactur-
ing processes. Supported by computer
simulation tools, optical specialists, and
industry experts, a unique reector design
soon became reality. Similarly, the xtures
mechanical conguration provides proper
ARRIMAX 18
|
12
cooling performance without increasing
target dimensions. Based on collaboration
with the Fraunhofer Institute, ARRI Lighting
developed a convection cooling system,
which is able to offer accurate temperature
management.
The handling of big lights is always a
priorit y issue and the ARRIMAX design
team responded to many customer requests.
A new stirrup design keeps the xture prole
as small as possible while the buttery
handle design allows crews to carry the
ARRIMAX easily. A tough base skid protects
the unit and lamp access via ARRIs
patented dual safety glass door is quick and
simple.
The Most Powerful HMI Light on the Pl anet!
6 0 L i g h t i n g
ARRIMAX 18
|
12
The ARRIMAX 18/12 on the set of the new Steven Spielberg film MUNICH Michael Bauman on the set of the new Steven
Spielberg film MUNICH with the ARRIMAX 18/12
The Most Powerful HMI Light on the Pl anet!
ARRIMAX on the set of the new Spielberg
lm MUNICH
Hollywood gaffer Michael Bauman (THE
ISLAND, RAY, TRAI NI NG DAY) conducted the
rst ARRIMAX 18/12 eld tests while work-
ing on Steven Spielbergs historical thriller
MUNI CH, Mike used the ARRIMAX on
several locations for DoP Janusz Kaminski
ASC.
At rst glance, the crew remarked on the
new xtures unique appearance and sleek
design, but it was the units optical perfor-
mance that really impressed everyone. For
one particular setup, the single ARRIMAX
provided the needed key light that other-
wise might have required multiple overlaid
sources.
On the following day, Mike was particularly
vocal about the light readings remarking:
...the output and the throw is fantastic.
Additionally, the shadow rendition of
ARRIMAX prompted Mike and others to
cemmt that the image reminded them of ...
the crisp shadows you get from the old Arc
lights.

ARRI owes a debt of gratitude to Mike
Bauman and his crew, particularly Best Boy
Tommy Dangcil, for using the brand new
ARRIMAX in actual production conditions
on such an important location. Also, very
special thanks to the production company
and ARRI Rental whose involvement with
this project made our rst eld test remark-
able.
John Gresch
61 L i g h t i n g
ARRIMAX 18/12 Techni cal Data
Working principle: Open Face with parabolic facet reector
Lamphead construction: Casted front- and backparts;
Aluminium proles; ARRI eXtreme cooling system
Finish: Anodized Aluminium proles (silver); painted castings (blue)
Stirrup: Aluminium stirrup, 28mm spigot
Dimensions (L x W x H): L=852mm (with barndoor brackets 942mm) x W=780mm x H=809mm
Power load: 18,000/12,000W Universal Power
Lamp socket: GX51/GX38 (ARRI Dual Pin width support)
LCL (18/12kW lamps): 260mm
Usable lamps: GX38 12,000W SE
GX51 12,000W SE
GX51 18,000W SE
Average lamp lifetime: 300hrs
Protective measure: Protective class I, protective rate IP 23
Max. ambient temperature: 45C / 113F
Max. operating tilting angle: 90
Spigot mounting: 28mm DIN 15560/T24 ZA
Colour temperature: ~5,600 K
Colour rendering: Ra > 90
Flicker: Flicker Free (~1,5%)
Safety: Interlock microswitch on front door
for disconnecting all power-loaded connections;
safety cable attachement
Control: Illuminated ON/OFF switch; hour counter
Beam spread/control: 15-50 HPA
Accessory insert size : 740mm / 29
ARRIMAX 18
|
12 ARRIMAX 18
|
12
62 L i g h t i n g
Pick Hit Award for the ARRI X Ceramic 250
ARRI STUDIO CERAMIC 250
At IBC 2005 ARRI Lighting features
the new ARRI STUDIO CERAMIC 250.
Ceramic technology provides an
interesting solution for professional
lighting designers. ARRI xtures
designed with this technology
dramatically reduce transmit-
ted heat, provide 3200K light,
offer long lamp life and draw
minimum power.
After the successful ARRI X
CERAMIC 250, ARRI Lighting
developed a Fresnel style
Ceramic xture, which has
been equally received.
Modeled after the ARRI 2000
tungsten Fresnel, the Studio
CERAMIC 250 evolved into an
optimized and balanced
lamphead. User benets are
similar to the ARRI X CERAMIC
250 design: lamp performance
equal to a 1kw halogen lamp,
cooler housing temperatures,
lower power consumption,
higher lamp life, hot restrike,
integrated ballast, 3200K
color temperature, and a
Color Rendering Index >90.
ARRI Ceramic Technology -
a new choice!
Technical Data
Mains voltage range: 90265V / 5060Hz
Dimensions (H x L x W): 327x305x359mm / 12,9x12x14,1
Weight without accessories: 8,2kg / 18lbs; with lamp
Protective measure: Protective class I, protective rate IP 20
Max. ambient temperature: 45C / 113F for full lamp performance
Max. surface temperature: 80C / 176F
Recommended tilting angle for lamp: According to lamp manufacturer (burning position: any)
Max. operating tilting angle: 90
Spigot mounting: 28mm DIN 15560/T24 ZA
Colour temperature: 3200 100K
Tc variation: 100K
(vertical/horizontal burning position)
Colour rendering: Ra > 90
Flicker: Flicker Free, 90Hz (square wave)
Barn door insert size : 245mm / 9,6
Accessory insert size : 229mm / 9
Lens : 175mm / 7
Photometric Data (3m / 10ft)
Flood Spot
lx / fc HPA [] lx / fc HPA []
1080lx / 100fc 57 7500lx / 700fc 10
ARRI STUDIO CERAMIC 250 with lamp CERAMIC ST 250 HR
ARRI STUDIO CERAMIC 250, manual, Schuko connector, blue/silver L1.86500.D
ARRI STUDIO CERAMIC 250, manual, Schuko connector, black L1.86505.D
ARRI STUDIO CERAMIC 250, manual, Hubble connector, blue/silver L1.86500.A
ARRI STUDIO CERAMIC 250, manual, Hubble connector, black L1.86505.A
ARRI STUDIO CERAMIC 250, manual, bare ends, blue/silver L1.86500.B
ARRI STUDIO CERAMIC 250, manual, bare ends, black L1.86505.B
ARRI STUDIO CERAMIC 250, P.O., Schuko connector, black L1.86505.K
ARRI STUDIO CERAMIC 250, P.O., bare ends, black L1.86505.I
PRIMEDIAs millimeter magazine, the pro -
fessional resource for production and post,
announced the 15 winners of the annual
NAB Pick Hits Awards. These winners
were selected during the annual National
Association of Broadcasters convention
from among hundreds of new products on
display.
Were very pleased to offer the Pick Hit
Awards, said millimeter publisher Scott
Schwadron. Part of our mission is to
provide insight to our readers on the trends
and equipment that are impacting the
industry and their art. The Pick Hit Awards
help us to spotlight some of the gear that
will affect their work in a signicant way.
The Pick Hits are chosen by a panel com-
prised of millimeter senior editors, contribut-
ing editors who are also veterans of lm
and television production, and a select
group of industry production and postpro-
duction professionals. Pick Hits winners are
selected for breaking new grounds for work-
ow innovation, price/performance, image
quality, and/or potential to drive artistic
progress.
Our Pick Hit judges have had a good
record over the years of identifying products
that would have long-lasting impact either
by changing workow, increasing image
quality or simply by offering new opportu-
nities that artists were able to capitalize
on, says Editorial Director Cynthia Wisehart.
Our judges have seen and used a lot of
technology and they have a passion for
seeking out the best new tools.
Franz Wieser
6 3 L i g h t i n g
Paul McCarthys Lala Land Parodie Paradies
ARRI Ceramic Technology light s up the ar tist s l atest project
With an oversized inatable ower bouquet mounted on the roof of the
Munich House of Art, Paul McCarthys exhibition LALA LAND PARODI E
PARADI ES welcomes its visitors. The exhibition is one of his most extensive
artwork displays ever. Part of the exhibition is a new installation with the
title F- FORT AND LAMP WAGONS, a replica of a western fort that is
planned to go on a worldwide tour as an ongoing project. Paul McCarthy
is one of the most inuential artists of his time. He and his son Damien
(as well as the rest of the McCarthy family) had a great time in Munich,
doing some HD-shooting for the new F-Fort-Project. His exhibition was
opened to great acclaim a day ahead of the Biennale in Venice also
demonstrating Munichs expertise in modern art. But when it comes down
to the technology involved in his lms and projects, Paul McCarthy has
always had a clear sense of the cutting edge and what suits his needs best.
A passion he has obviously already passed on to his son Damien, who is
also involved in his new project.
Paul and Damien McCarthy
6 4 L i g h t i n g
Paul McCarthys Lala Land Parodie Paradies
ARRI Ceramic Technology light s up the ar tist s l atest project
Hagen Keller, the lighting designer for Paul
McCarthys F- Fort Party, gave us a tour
through the new set and explained how
the lighting setup became part of the actual
art installation.
?: The lighting design looks like a typical
location setup. What was the reason for
such an installation?
Hagen Keller: At the beginning the setup
was supposed to light only the video shoot,
which is now a video presentation that
forms part of the exhibition itself. So we
did the lighting setup and Paul arrived just
as we had nished. He liked our setup so
much that he decided to integrate the lamp
heads, the stands, all the cables and the
power distribution boxes into his exhibit.
So all you see here is essentially the same
setup we used at the beginning of July for
the video shoot.
?: Can you tell us a bit about the chal-
lenges of lighting artwork installations?
Hagen Keller: The scenery we had to light
is basically a western fort with covered
wagons standing in front and next to it. The
entire exhibition is supposed to be interac-
tive, so visitors can walk through the actual
western fort. The intention or better still
the question Paul wanted to provoke with
the exhibition is: What is paradise? Who
is inside, who is outside? Where is it better
to live? Is it a playground or a jailhouse?
So for creating a kind of a jailhouse look
we brought the lamp heads to a relatively
high position to create a something like a
jailhouse-shadow. Initially Paul wanted to
have a very even light distribution through-
out the western fort to make it possible to
shoot any unexpected situation. However,
since the western fort has quite a number
corners, we couldnt avoid few shadows,
but in the end, this created a dramatic look
that Paul liked very much.
?: So the intention was no longer to have a
lighting situation as soft as possible?
Hagen Keller: No, the lighting had to
support the statement of the exhibition, and
most of all support the activities for the
video shoot-shadows and differences in the
light level were actually more desired than
unwanted.
?: Youre using thirteen ARRI Studio Ceramic
250 lamp heads and two ARRI Junior 5k
Fresnels what is the reason for this choice?
Hagen Keller: When we began, we actu-
ally had thirteen tungsten 1kW Fresnel
lamp heads. However, ARRI offered us the
possibility to use the tungsten 1kW ARRI
Studio Ceramic 250 lamp heads instead,
as kind of a test project, so we switched
over to these. This turned out to be a very
good decision, especially since Paul decid-
ed to use the lighting setup as part of his
ongoing exhibition. This meant that we were
now facing a situation with a xed lighting
installation that should be able to perform
reliably over a long period of time.
?: Where do you see the benets of the
Ceramic lampheads?
Hagen Keller: First of all in the lamps life-
time, which is over 4,000 hours. This is
very important since a museum has a lot of
visitors all day long, which makes it difcult
to replace anything. And of course the
Munich House of Art is also happy because
of the reduced power consumption: We
started with 13,000 W and now we have
a power load of only 3,250 W!
Paul is also very satised with the results.
He has already announced that he would
like to use the lamp heads in further projects,
which will also be xed lighting installations.
?: Thank you very much for your time!
Timo Mller
Hagen Keller
Hagen Keller and Timo Mller
Hagen Keller,
Mathis Richter and
Hynek Popelak
(ARRI Lighting)
65 L i g h t i n g
Roger Dean will also oversee markets in
the Caribbean, Central America and parts
of South America. Television stations and
new local programming provide a great
need for lighting sales in these territories.
Universities are especially important to
Roger Dean, who is interested in having
ARRI involved with the newest generation
of up-and-coming lmmakers.
Although the ARRI line of lighting equip-
ment is the primary focus, Roger Dean will
acquire contacts for other ARRI product
lines: digital intermediate, scanners and
cameras. His contact with these potential
clients is a vital connection between those
countries and the respective sales managers
in the United States.
An Tran
Roger Dean Touches Down at
ARRI CSC in Ft. Lauderdale
Roger Dean, who graduated from New
York Universitys lm school says, Its a
wonderful opportunity to continue extend-
ing ARRI sales and service. He has served
as lighting sales manager at ARRI since
1994. Previous to that, he owned a lighting
and grip company called New York Light-
ing Systems. He has worked in the lm in-
dustry since the 1970s, doing camerawork
and lighting for commercials, feature lms
and documentaries. Roger Dean can be
reached at rdean@arri.com
The successful launch of a full grip and lighting department at ARRI CSC in Ft. Lauderdale prompted the move of
former East Coast lighting sales manager Roger Dean to the Florida area. Roger Deans transition will emphasize a
stronger concentration on lighting sales in the southern region of the United States. Working out of ARRI Camera
Service Center (CSC), he will serve as a valuable link between the rental sector of ARRI CSC and lighting sales,
increasing synergy between the two branches and streamlining equipment rental with manufacturing.
By having rental and sales together in Florida at the same facility, ARRI CSC will be able
to service products on the sales side, minimizing repair time. ARRI CSC carries a
full line of ARRI HMI and Tungsten xtures, along with a complete collection
of Kino Flo, Mole and Dedo specialty lights.
6 6 Wo r l d wi d e _US A
I am very pleased to have joined Illumina-
tion Dynamics a company that has
always impressed me with customer service
that is second to none, says Mark. IDs
Automated Lighting Division caters to the
Television, Corporate, Special Event and
Motion Picture industries by providing
turnkey systems, including programmers
and technicians if required. We have
started from the ground up with brand new
gear. Customer service is the key. Both
ARRI CSC and ID are very supportive of
this new venture and have committed to
provide the best equipment and service
possible. With many of IDs entertainment
industry clients requiring automated
lighting, this is the natural move for the
company.
In addition to its new Automated &
Theatrical Lighting Division, Illumination
Dynamics offers a complete line of lighting,
grip, generators, power distribution and
HVAC as well as planning, engineering,
permitting, installation and technical
support to the motion picture, television,
broadcast and special events industries.
Carly Barber, President of Illumination
Dynamics reects: Illumination Dynamics
Illumination Dynamics Launches
Moving Light Division
Earlier this year, Illumination Dynamics expanded their Californian
facility with the creation of an Automated & Theatrical Lighting Division.
This exciting new development for the constantly evolving subsidiary of
ARRI CSC was made possible by the arrival of industry veteran Mark Rudge, who heads the new department. Mark
brings with him an extensive background in all aspects of theatrical and music lighting along with an outstanding
reputation amongst industry professionals, having not only worked extensively in rental but also as a freelance
lighting designer. Marks new inventory includes a complete range of state-of-the-art luminaires by Martin and other
manufacturers, control consoles, specialized lighting (inc. LED technology), dimming and control systems, truss and
rigging equipment.
has big show experience and resources,
while retaining our dedication to all aspects
of customer support and quality. Moving
into automated lighting was a natural step
for us, because as part of the ARRI Group
we strive to offer the newest and most
advanced products. We can now provide
our core customers in the lm, television,
broadcast and special events industries
with all their lighting requirements both
conventional and automated along with
the full-service support of generators, power
distribution and grip equipment.
Simon Broad
Mark Rudge
67 Wo r l d wi d e _US A
Lighting companies have traditionally
worked to a xed racking system
when servicing productions. However,
with the success of the ARRI Focus
Roll-a-Rack system in 2004 (a move-
able racking system designed for
short term hire productions) it was the
idea of Tommy Moran, Managing
Director of ARRI Lighting Rental,
London to add to this by introducing
a new modular racking system,
therefore increasing the versatility of
their eet of vehicles.
Creating the Ideal Working Load
New Racking System for
ARRI Lighting Rental Trucks
The new system has already been used on
feature films, WASP 05 and THE FLYI NG
SCOTSMAN and television dramas such as
RI OT OF THE RI TE and has proved to be a
great success.
Tommy Moran added: With servicing such
a diverse range of projects we needed to
be able to react more quickly and at the
same time make our fleet more versatile
nomatter what type of production we are
servicing, this modular system is the perfect
solution.
Judith Petty
As lighting crews have differing preferences
in the way they load the trucks and gene-
rators, the new racking system allows them
to configure the modules to their own require-
ments creating the ideal working load.
This means that on location they are able
to work from the vehicles in a more effici-
ent way and with time becoming more and
more of an issue, this is crucial to any pro-
duction. In some instances the crews have
preferred to use the modular system in con-
junction with the Roll-a-Rack system to
gain further flexibility in the utilization of
equipment.
Founded in 1917, ARRI can look back on 88 years
of lm history. A major part of the companys
secret to success lies in the experience of its em-
ployees, some of whom have been with the
company for decades, their careers reaching all
the way back to their vocational training with
ARRI. For such two distinguished employees, the
rst day of work at ARRI was August 1
st

Max Welz began his career, which now spans six
decades, at a factory in Brannenburg in 1945.
At that time, ARRIs production facilities had been
evacuated away from Munich to an alternate
location near the Alps. Within a few short years
he was put in charge of the turning and milling
operation. In 1948, he returned to the now re-
stored facilities in the Trkenstrasse together with
his department, where he also took charge of
the quality control, the tool making, the machine
repair shop and the parts stock. In the following
years, Max Welz established departments for
110 Years of ARRI
process planning, manufacturing resources and
logistics. In 1986, he was charged with the over-
all responsibility for manufacturing. In 1991 he
was named technical head of ARRIs entire hard-
ware division, which put him in charge of the
entire production of camera and lighting products
including all technical departments. He was ap-
pointed technical director soon after and in 1992
joined the executive board of Arnold & Richter
Cine Technik. After a number of successful years
at this peak of his career, Max Welz had origin-
ally planned to enter his well-earned retirement
in 2001 originally, for in the same year he
became managing director of the ARRI Gie -
technik, a foundry in Stephanskirchen that he still
successfully runs today.
Thomas Popp joined the company 50 years ago,
beginning his training with ARRI as an apprentice
precision mechanic. In 1966, he earned a degree
as a certied technician at the Oscar-von-Miller
Polytechnic Institute, followed by a further degree
in business administration, which he was awarded
in 1973. As a camera designer in the 60s and
70s, Thomas Popp played a signicant role in the
development of the successful ARRITECHNO 35,
the ARRIFLEX 35 III and 35 III C. Following a
variety of tasks as project leader, he assumed
responsibility for ARRIs medical product division.
This period of his career was marked by such
important innovations as the ARRIPRO 35, which
later evolved into the LOCPRO 35, the QANSAD
system and the ARRI OSCAR. Since 1994, Thomas
Popp has been active in sales, where he took
charge of the Camera and Digital departments
in 2003. In 2004, he was named Director Sales
and together with Sigrid Mller, he is also
managing director of ARRI Lighting Solutions in
Berlin.
In a special ceremony, ARRI expressed its
gratitude for so much energy and dedication.
Max Welz and Thomas Popp
Celebrate Their Anniversaries
Klaus A. Feix, Max Welz, Franz
Kraus, Thomas Popp (f.l.t.r.)
6 8 Wo r l d wi d e
Congratulations
Best Picture in Gold:
ALLES AUF ZUCKER, Producer: Manuela Stehr
Best Picture in Silver:
SOPHI E SCHOLL, Producer: Christoph Mller
and Sven Burgemeister, Marc Rothemund,
Fred Breinersdorfer
Best Directing:
Dani Levy for ALLES AUF ZUCKER
Best Cinematography:
Hans-Gnther Bcking for SCHNEELAND
Best Sound Design:
Thomas Riedelsheimer
for TOUCH THE SOUND
Honorary DP 2005: Robby Mller
1
For his lifetime achievement, Robby Mller
is awarded the honorary DP of the year
2005. Born in the Netherlands, Robby
Mller worked together with Wim Wenders
on such reknown features like ALI CE I N THE
CITIES or PARIS.TEXAS. Shooting for directors
like Jim Jarmush, Lars von Trier or Hans W.
Geiendrfer he always established a very
own and distinctive st yle. Robby Mller
receives the German Camera Award
already for the second time: In 1984 he
was awarded for lming the road movie
PARIS.TEXAS. Among other prices, he also
received the Bundeslmpreis twice.
Camera feature lm:
Michael Hammon
10
for WI LLENBROCK.
Camera TV-Drama:
Ngo The Chau
2
for
TATORT: SCHEHERAZADE.
Camera Documentary/Feature:
Christoph Castor
5
for
PFARRER AUF DER WI ESN SEELSORGE
ZWISCHEN ACHTERBAHN UND ZI RKUSZELT.
Camera short feature:
Mike Stef
8
for KI ND? NEI N DANKE!
KI NDERLOSI GKEIT I N EUROPA.
Camera reportage:
Erich Hammerl
4
for ES IST NI CHT EI NFACH,
ABER WI R MSSEN ES TUN.
Camera short lm:
Stephan Vorbrugg
11
for KALTE HAUT.
Funding award camera short lm:
Philipp Hirsch
3
for I NSI DE.
German Camera Award 2005
German Fi l m Award LOLA
Editing feature lm:
Patricia Rommel
6
for KAMMERFLI MMERN.
Editing documentary/Feature:
Nikola Gehrke
9
for
PFARRER AUF DER WI ESN SEELSORGE
ZWISCHEN ACHTERBAHN UND ZI RKUSZELT
Funding award editing short lm:
Wolfgang Weigl
7
for KALTE HAUT.
German Film Funding Award for Directing:
Byambasuren Davaa, for
DI E HHLE DES GELBEN HUNDES
Bernhard-Wicki-Award:
SOPHI E SCHOLL directed by
Marc Rothemund
FFA Short Tiger:
CHRISTI NA OHNE KAUFMANN
directed by Sonja Hei
Audience Award:
DI E HHLE DES GELBEN HUNDES
directed by Byambasuren Davaa
Muni ch Fi l m Festi val 2005
pictures: WDR/teamwork, Repro WDR, WDR/Klaus Grgen
2 3 7 4 5 6 8 11 9 10
1
69 Wo r l d wi d e
Title Production Director DoP Equipment
AUF IMMER UND EWIG UND EINEN TAG d.i.e. lm Markus Imboden Jo Heim ARRIFLEX 16SR3, Lighting, Grip
BABEL Babel Productions Alejandro Gonzalez Inarritu Rodrigo Prieto ARRICAM LT, 16SR3
PERFUME: THE STORY OF A MURDERER Constantin Filmproduktion Tom Tykwer Frank Griebe ARRICAM ST/LT, 435, 235, 3 Perforation,
Lighting, Grip
ELEMENTARTEILCHEN Constantin Filmproduktion Oskar Rhler Carl-Friedrich Koschnick ARRICAM ST/LT, 435, Lighting, Grip
ENIGMA EINE UNEINGESTANDENE LIEBE Neue Bioskop Film Volker Schlndorff Thomas Erhart ARRIFLEX 16SR3, Lighting, Grip
HELEN, FRED UND TED teamWorx Sherry Hormann Hanno Lentz ARRIFLEX 16SR3, Lighting, Grip
THE HILLS HAVE EYES Fox Searchlight Alexandre Aja Maxime Alexandre ARRICAM ST, MOVIECAM Compact,
Lighting, Grip
ICH BIN DIE ANDERE Clasart Film Margarethe von Trotta Axel Block ARRICAM ST/LT, Lighting, Grip
LOVE ME CRAZY Olga Film Peter Gersina Markus Hausen ARRIFLEX 16SR3
PERL ODER PICAR Red Lion s.r.l. Pol Cruchten Jerzy Palacz 535B, 435, MOVIECAM SL, Lighting
POLIZEIRUF 110 - ER SOLLTE TOT TV60Film Dominik Graf Alexander Fischerkoesen ARRIFLEX 16SR3, Lighting, Grip
DER RUBER HOTZENPLOTZ collina Filmproduktion Gernot Roll Gernot Roll ARRICAM ST, 535B, 435, 3 Perforation,
Lighting, Grip
TOTE HOSE Dreamtool Entertainment Simon X. Rost Stephan Schuh ARRIFLEX 16SR3, Lighting, Grip
Title Production
Company
DoP Equipement
BEYOND FRIENDSHIP Films 18 Ltd Giovanni Fiore Coltellacci ARRICAM ST, LT
BLACK BOOK Black Book Ltd Karl Walter Lindenlaub ARRICAM ST, LT
BREAKING & ENTERING Sorting Station Ltd Benoit Delhomme ARRICAM ST, LT
DA VINCI CODE Rose Line Films Salvador Tortini ARRICAM ST, LT
ELIZABETH I Company Pics Larry Smith ARRIFLEX 16SR3
Advanced
THE FLYING SCOTSMAN Mel Films Ltd Gavin Finney BSC ARRICAM ST, LT
LOVE & OTHER DISASTERS Ruby Films Pierre Morel ARRICAM ST, LT
SPOOKS 4 Kudos Damian Bromley ARRIFLEX 16SR3
Advanced
STARTER FOR TEN Scamp/Playtone Ashley Rowe BSC ARRICAM ST, LT
SUNSHINE DNA Films Alwin Kchler BSC ARRICAM ST, LT,
ARRIFLEX 235
ULTIMATE FORCE Bentley Prods Dick Dodd ARRIFLEX 16SR3
Advanced
W.A.S.P WASP Remi Adefarasin BSC ARRICAM ST, LT
Title Director DoP Gaffer
BLEAK HOUSE Justin Chadwick /
Susanna White
Keiran Mcgwigan Mark Clayton
BREAKING & ENTERING Anthony Mingella Benoit Delhomme John Coley
ELIZABETH Coky Giedroyc David Odd BSC Tim Wylie
THE FLYING SCOTSMAN Douglas Mackinnon Gavin Finney BSC Brandon Evans
FOOTBALLERS WIVES David Knight Ian Howes Darren Harvey
THE LAST LEGION Doug Leffer Marco Pontecorvo
THE QUEEN Stephen Frears Alfonzo Beatzo Andy Long
TRIAL & RETRIBUTION Tristram Powell Mike Spragg/
James Welland
John White
V FOR VENDETTA James McTeigue Adrian Biddle BSC Kevin Day
WASP 05 Woody Allen Remi Adefarasin BSC Jimmy Wilson
Title Subtitle Production Company Agentur Director DoP
ADAC Masseur Vivalm Young & Rubicam Andreas Grassl Mathias Fuchs
BAHRAIN MBC / Vivalm MBC, Creative Services Alexander Grinke Chris Hof
CHIO CHIPS Snapshot e+p TBWA, Dsseldorf Dennis Gansel Joachim Berc
DER HARAEUS-CODE Cadrage Cadrage Christof Gurland Joachim Seck
DIBA ExKo Basketball HelliVentures Wschner Rohwer Baier Joachim Hellinger Ward Russel
FERRERO Saisonstart e+p Xynias Wetzel Dennis Gansel Ekkehart Pollack
FERRERO Pocket Coffee e+p Xynias Wetzel Dennis Gansel Britta Mangold
MCDONALD`S Polly Pocket e+p Heye & Partner Serge Guerand Stafano Morcaldo
MCDONALD`S Inbox e+p Heye & Partner Florian Seidel Sebastian Pfaffenbichler
MCDONALD`S ASOH e+p Heye & Partner Agust Baldursson Ottar Gudnarson
OUZO Gute Freunde e+p Fahrnholz, Junghans, Raetzel Claude Mougin Michael Schreitel
PREMIERE First Class GAP Films GmbH Goldammer Werbeagentur Luca Maroni Manfredo Archinto
SDWESTBANK Ballerina
Gameboy
Collage Trailer
Leithaus Dongowski & Simon
Idee & Konzept: Leithaus
Werner Kranwetvogel Dieter Deventer
WEIGHT WATCHERS FirstFrame Gramm Kilian Keyserlingk Toni Mitchell
YELLOW HANDS F24 Matthias Thnnisen Andr Wagner
ARRI Rental -Germany
ARRI Media ARRI Lighting Rental
ARRI Commercials
Chio Chips Premiere McDonalds
70 S e r v i c e s
Title Director DoP Gaffer
BLEAK HOUSE Justin Chadwick /
Susanna White
Keiran Mcgwigan Mark Clayton
BREAKING & ENTERING Anthony Mingella Benoit Delhomme John Coley
ELIZABETH Coky Giedroyc David Odd BSC Tim Wylie
THE FLYING SCOTSMAN Douglas Mackinnon Gavin Finney BSC Brandon Evans
FOOTBALLERS WIVES David Knight Ian Howes Darren Harvey
THE LAST LEGION Doug Leffer Marco Pontecorvo
THE QUEEN Stephen Frears Alfonzo Beatzo Andy Long
TRIAL & RETRIBUTION Tristram Powell Mike Spragg/
James Welland
John White
V FOR VENDETTA James McTeigue Adrian Biddle BSC Kevin Day
WASP 05 Woody Allen Remi Adefarasin BSC Jimmy Wilson
Title Production Company DoP Gaffer Equipment Serviced by
BORDERTOWN El Norte Productions Ray Villalobos Steven Litecky &
James Tynes
Lighting & Grip Illumination Dynamics
FAST TRACK F.T. LLC Tom Richmond Joseph Quirk ARRICAM ST/LT, Lighting & Grip ARRI CSC NY
FIRST BORN First Born Film Works Alex Martinez Mike Marzovilla ARRI 535B, Lighting & Grip ARRI CSC NY
THE GROOMSMAN Black & Tan Productions Will Rexer ARRICAM ST/LT ARRI CSC NY
THE INSIDE MAN Universal Studios Matthew, Libatique ASC John Velez ARRICAM ST, Lighting & Grip ARRI CSC NY
THE LAST TIME Lift Productions Tim Suhrstedt ARRICAM ST & LT ARRI CSC FL
LAST TIME FOREVER Metropolis Films Ivan Jordana Pete Roseman ARRICAM LT, Lighting & Grip ARRI CSC FL
LITTLE CHILDREN Avery Pictures Antonio Calvache Russell Engels ARRICAM ST/LT, Lighting & Grip ARRI CSC NY
MADEAS FAMILY REUNION Madea Productions Inc. Toyomichi Kurita ARRICAM ST & LT ARRI CSC FL
THE NAMESAKE Namesake Productions Inc. Fred Elmes ASC Jonathan Lumley ARRICAM ST/LT ARRI CSC NY
NORTH COUNTRY Warner Bros. Chris Menges BSC Steven Litecky Lighting & Grip Illumination Dynamics
THE SOPRANOS Soprano Productions, Inc. Kevin Janicelli Lighting & Grip ARRI CSC NY
SOUTH BEACH Paramount Pictures Corp. David Hennings ARRIFLEX 16SR3 Advanced ARRI CSC FL
SOUTHLAND TALES Cherry Road Productions Steven Poster ASC Elan Yaari Lighting & Grip Illumination Dynamics
WAIST DEEP Bromley Productions Shane Hurlbut ARRICAM ST/LT, 435, 235 - 3 Perforation ARRI CSC FL
YELLOW Yellow Productions Corp Claudio Chea ARRICAM ST/LT, 3 Perforation ARRI CSC FL
Title Production Company Director
VIER TCHTER Claussen + Wbke Rainer Kaufmann
APPOLONIA MARGARETE STEIFF Film-Line Productions Xaver Schwarzenberger
AUF IMMER UND EWIG UND EINEN TAG d.i.e. lm Markus Imboden
PERFUME: THE STORY OF A MURDERER Constantin Filmproduktion Tom Tykwer
DIE AGENTUR Aikon Media & Technology Reinhard Schwabenitzky
HUI BUH DAS SCHLOSSGESPENST Rat Pack Filmproduktion Sebastian Niemann
DIE SCHULD ABC Studio GmbH Martin Enlen
DIE SONNENFELDS TEIL 2+3 Post One Erhard Riedelsperger
EINE CHANCE FR DIE LIEBE ndF Dirk Regel
ENIGMA - EINE UNEINGESTANDENE LIEBE Neue Bioskop Film Volker Schlndorff
FREUNDINNEN FR IMMER Lunet Entertainment Peter Gersina
ICH BIN DIE ANDERE Clasart Film Margarethe von Trotta
IM HIMMEL SCHREIBT MAN LIEBE ANDERS sanset Film Helmut Frnbacher
KOMMISSARIN LUCAS VI+V Olga Film Thomas Berger
KNIG DER HERZEN Aikon Media & Technology Helmut Frnbacher
LIEBE AUF 4 PFOTEN sanset Film Markus Brutigam
MEIN LEBEN UND ICH V Sony Pictures Jacob Hilpert /
Richard Huber
NO SNOW NFP Teleart Robert Young
NOCH EINMAL 20 SEIN! FFP Media Bettina Woernle
ORGANIZE ISLER BKM Film Yilmaz Erdogan
POLIZEIRUF 110 - ER SOLLTE TOT TV60Film Dominik Graf
POST MORTEM Sony Pictures Thomas Jauch
DER RUBER HOTZENPLOTZ collina Filmproduktion Gernot Roll
REINE FORMSACHE independent players Ralf Huettner
ROSAMUNDE PILCHER - MAGIC NIGHT FFP Media Dieter Kehler
SPECIAL Hofmann & Voges Anno Saul
TOLLPENSION Ziegler Film Kln Tim Trageser
VORSICHT SCHWIEGERMUTTER Hager Moss Film Zoltan Spirandelli
WER FRHER STIRBT, IST LNGER TOT Roxy Film Marcus H. Rosenmller
Title Production Company Director Serviced by
ES IST EIN ELCH ENTSPRUNGEN SamFilm Ben Verbong DI, Title Design
OKTOBERFEST Hager Moss Film Johannes Brunner VFX, Title Design
ORGANIZE ISLER BKM Film Yilmaz Erdogan DI/VFX, Title Design
DER RUBER HOTZENPLOTZ collina Filmproduktion Gernot Roll DI/VFX, Title Design
DIE WEISSE MASSAI Constantin Filmproduktion Hermine Huntgeburth VFX, Title Design, HD-Mastering
Theater Release
Title Production Company
GERNSTL Megaherz GmbH
ORGANIZE ISLER BKM Film
DER RUBER HOTZENPLOTZ collina Filmproduktion
REINE FORMSACHE independent players
WHOLETRAIN Neue Goldkind
Foreign Dubbing
Title Production Company
AS IT IS IN HEAVEN As it is in heaven
FACTOTUM Mina Kindl Filmproduktion
LEGENDS OF ZORRO Columbia Tristar
TV Release
Title Production Company
APPOLONIA MARGARETE STEIFF Film-Line Productions
DER KEILER Post One
DRESDEN DER BRAND teamWorx
IM HIMMEL SCHREIBT MAN
LIEBE ANDERS
sanset Film
SEX UND MEHR Lunet Entertainment
TATORT DER RACHEENGEL Telelm Saar
ARRI Lab-TV Drama
ARRI CSC
ARRI Digital Intermediate/Visual Effects
ARRI Sound
71 S e r v i c e s
Published by: Arnold & Richter Cine Technik, Trkenstr. 89, D-80799 Mnchen
Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Mller
With additional text by: Bill Bennett, Andreas Berkl, Elfi Bernt, Harald Brendel, Simon Broad, Siobhan Daly, Julia Eberl,
Jim Elias, John Gresch, Jochen Hhnel, Hans Hansson, Bill Lovell, Sibylle Maier, Timo Mller, Judith Petty, Thomas Popp,
Stefan Schmidt, Prof. Jrgen Schopper, Mauro Sembroni, Marc Shipman-Mueller, Matt Siegel, Jon Silberg, An Tran,
Franz Wieser
Artwork: add cooperation Uwe Heilig Mediendesign, lucie_p, Matthias Gbel, Susanne Schreibauer
Printed by: Rapp-Druck GmbH, Flintsbach
The opinions expressed by individuals quoted in articles in the ARRI NEWS do not necessarily represent those of ARRI or the editors of the ARRI NEWS.
Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and
specifications given in this publication are subject to change without notice.
Key Contacts
Vice-President Sales & Marketing
Serge Giordano
+49 - (0) 89 - 38 09 1384
sgiordano@arri.de
ARRI Rental Deutschland
Thomas Loher
+49 - (0) 89 - 38 09 1440
tloher@arri.de
ARRI Film & TV Services
Key Account: Angela Reedwisch
+49 - (0) 89 - 38 09 1574
areedwisch@arri.de
ARRI Film & TV Services
International Sales: Thomas Nickel
thomasnickel@online.de
ARRI Film & TV Services
National Sales: Walter Brus
+49 - (0) 89 - 38 09 1772
wbrus@arri.de
ARRI Film & TV Services
Feature & TV Drama: Josef Reidinger
+49 - (0) 89 - 38 09 1339
jreidinger@arri.de
ARRI Film & TV Services
Digital Film: Henning Rdlein
+49 - (0) 89 - 38 09 1970
hraedlein@arri.de
ARRI Film & TV Services
Sound: Thomas Till
+49 - (0) 89 - 38 09 1292
ttill@arri.de
ARRI Lighting Solutions
Sigrid Mller
+49 - (0) 30 - 678 23 30
smueller@arri.de
ARRI GB Ltd., Judith Petty
+44 - (0) 1 89 54 57 000
sales@arri-gb.com
ARRI Media, Philip Cooper
+44 - (0) 1 89 54 57 100
pcooper@arrimedia.com
ARRI Lighting Rental, Tommy Moran
+44 - (0) 1 89 54 57 200
tmoran@arrirental.com
ARRI Inc., Franz Wieser
+1 - 845 - 353 - 1400
fwieser@arri.com
ARRI CSC
Simon Broad, Hardwrick Johnson
+1 - 212 - 757 - 0906
sbroad@cameraservice.com
hjohnson@cameraservice.com
CSC Camera Service Center (FL)
Ed Stamm
+ 1 - 954 - 322 - 4545
estamm@cameraservice.com
Illumination Dynamics (LA)
Carly Barber, Maria Carpenter
+ 1 - 818 - 686 - 6400
carly@illuminationdynamics.com
maria@illuminationdynamics.com
Illumination Dynamics (NC)
Jeff Pentek
+1 - 704 - 679 - 9400
jeff@illuminationdynamics.com
ARRI Canada
+1 - 4 16 - 2 55 33 35
seb@arrican.com
ARRI Italia, Antonio Cazzaniga
+39 - 02 - 26 22 71 75
acazzaniga@arri.it
www.arri.com
ARNOLD & RICHTER CINE TECHNIK
GmbH & Co. Betriebs KG
Trkenstr. 89 D-80799 Mnchen
phone +49 - (0) 89 - 3809-0
fax +49 - (0) 89 - 3809-1791
Expo Calendar 2005 / 2006
These are the most important exhibitions where you can find out about
ARRI products and services

2005
September 09 13 IBC Amsterdam
September 11 14 Plasa London
October 18 20 Satis Paris
October 28 30 Broadcast India Mumbai
November 03 06 IBTS Milan
November 11 13 LDI Orlando
November 16 18 INTER BEE Tokyo Tokyo
November 16 19 NAT Moscow
November_December 26 03 Camerimage Lodz
December 07 09 DV Expo West New York
2006
March_April 29 01 Prolight & Sound Frankfurt
April 03 07 Milia / MIP-TV Cannes
April 24 27 NAB Las Vegas
June 20 23 Broadcast Asia Singapore
August 01 03 Siggraph Los Angeles
September 08 12 IBC Amsterdam
September 16 18 cinec Munich