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ARRIFLEX D -21 – 04

An Upgrade to the ARRI Film Style Digital Camera

With Honors: W EL COM E T O A C A D E M I A and the ARRIFLEX D -20 10

T h e L O N G W EEK EN D 12

Pitch Per fect Super 16 on I V O R Y 14

A TA S T E of Super 16 16

ARRIFLEX 416 Plus HS 20

New Long Ult ra 16 Lenses 24

Adventures in the Coltan Trade 26

Adventures with the 235 28

Q U A N T UM O F S O L A C E 29

Rober to Schaefer Focuses On T H E K I T E R U N N ER 30

T H E M UM MY 3 32

ARRIFLEX 435s Capture a Visual CO L L I S I O N 36

The Wonders of Nature in T ime -Lapse 37

H ER E A N D T H ER E with The Professional Camera Accessories 38

Int roducing the New Wireless Remote Control WRC-2 39

4k+, Part III – Visual Percept ion Limitat ions for Large Screens 40

Deluxe / EFILM on the Move 42

At lab Australia 45

Keep an Eye on the ARRICUBE 46

DI in South America 47

L‘Espace Vision 48

Color front Launches in Budapest 49

Fugit ive Studios 50

Have You Heard This Before? 51

Cer t i fy for Qualit y 52

ARRILASER HighSpeed Package II 54

ARRI True Blue 56

Latest News from the ARRI L ight ing Lab 58

ARRI L ights Il luminate Rolls-Royce Jet Engine Tests 60

Tango Argent ino – Mood Is L ight 64

ALLIANZ Insurance Goes ARRI 65

Radio Bremen – A Mult i - funct ional TV Complex 66

PCS 2100 – ZDF Opts For the 67

ARRI Posit ioning Control System

Kuwait : A l -Watan TV Project 68

Kick-of f Par t y and Workshop in Damascus, Syria 68

ERTU -Exhibit ion in Cairo 69

Max Files V: Il luminat ing T H ER E W I L L B E B L O O D 70

ASC Celebrates Ar t ful Cinematography 72

N O CO U N T RY F O R O L D M EN Win Best Picture Oscar 73

Plus Camerimage 2007 74

BSC Operators Night 2007 75

Christ ian Bürckstümmer 75

ARRI Seminar in Kazakhstan 76

New Subsidiary ARRI Asia to Open in Hong Kong 76

416 Workshop in Potsdam 77

ARRI at NATEXPO 77

A Select ion of Current ly Serviced Product ions 78 ARRI Rental Germany · ARRI Media · ARRI Lighting Rental ARRI Lab – TV Drama · ARRI Sound · ARRI Commercials ARRI CSC · ARRI Australia · ARRI DI / VFX

L i g h t i n gC a m e r a

N e w s a r o u n d A R R I

S e r v i c e s

D i g i t a l I n t e r m e d i a t e S y s t e m s

C o n t e n t

F.l.t.r.: Prof. Dr. Dejan Ilic,Jens Schäfer, Franz Kraus

Dear Friends and ColleaguesMarket leadership is not only a privilege, it is also an obligation that has to be fulfilled every day, in every location in our globalized world. The continuing dialogue with our customers is one of the most pleasant and interesting tasks that we pursue in this respect, not just in individual aspects but in almost all fields of film production. ARRI is currently focused on diversifying its activities in the digital realm, especially with products like the ARRIFLEX D-21, the ARRILASER and the ARRISCAN. These innovative devices allow ARRI to confidently position itself as a supplier of digital film style cameras and digital intermediate equipment in the market.

“Practical experience leading to practical solutions” is a motto that already inspired the company’s founders and so we are especially proud to be able to present the D-21, a product that has matured in the market in exactly this fashion, fulfilling not only the criteria new but also future-proof. With the creation of our ARRI Imaging Technology Group, new technological milestones like the new ARRIRAW T-Link Workflow or the In-Camera Defective Pixel Correction System have been established.

The decision to develop an upgrade path for all existing ARRILASERs is characteristic for ARRI. New developments are not just limited to the digital world: the traditional analog product lines have also reached a new level of technical perfection, be it with the Ultra 16 lenses, with the ARRIFLEX 416 Plus High Speed and its dynamic balancing or with groundbreaking new lighting products. In the case of the latter, LED technology is heralding the coming of a small revolution: the first system that not only provides effects lighting but also key lighting with variable color temperature and high quality.

A fresh design is one of the highlights of the new True Blue luminaire generation. While the working title serves to emphasize the traditional ARRI quality, a lighting series is being developed here to not only fulfill, but to surpass professional requirements through the use of innovative technology. Once again, thanks to the many suggestions and ideas we have received from different fields, we were able to merge these concepts together into an optimized whole – that’s what we mean when we talk about an exchange of ideas with our customers and users.

ARRI is naturally expanding its presence in highly dynamic markets and strengthening local co-operation such as with the establishment of the Asian hub office in Hong Kong, the collaboration with local system integrators in the Near and Middle East or alliances in Russia and India. Novel and extremely dynamic structures are thus being established, while being able to count on the comprehensive know-how that ARRI can offer as a systems provider.

2007 was one of the most successful years for ARRI – both in sales and in rental. This was achieved by the combined efforts of the people who make up the company in close cooperation with our allies in all fields of the industry. We would therefore like to thank our employees and partners who push us onward every day with their dedication, motivation and commitment to innovation. We are also proud that our Super visory Board encourages a course of technology investment and market growth, because innovations create our future. This is an inspiration for many new ideas and developments.

Franz KrausProf. Dr. Dejan Ilic Jens Schäfer

E d i t o r i a l

Ben Nott, Greville Patterson

Creating a digital camera that produces cinematic images is no trivial undertaking. It takes leading edge technology, a strong research & development team and continued feedback from the field. Based on input from the many cinematographers, camera assistants and rental houses who have worked closely with our film style digital camera in recent years, we have taken a close look at all parts of the image creation chain and have re-designed the image pro-cessing software. Combined with various internal hardware changes and optimized sensor timing, the ARRIFLEX D-21 emerges as the most cinematic digital camera. All existing D-20 cameras will of course be upgraded to D-21 status.

Image QualityProbably the most important change is the improvement to the D-21 image quality. While the D-20 had already been no slouch in this department (see the article on Ben Nott winning the ACS and ASC awards for best cinematography shooting with the D-20), the D-21 images have an improved color saturation and increased sharpness. A higher MTF was achieved by re-writing the image reconstruction (debayering) algorithm and by carefully fine tuning the interaction between the optical low pass filter and the

ThE ComPANyCinematographer Ben Nott, ACS not only won the Gold Medal prize of the Australian Cinematographers Society (ACS) for Best Cinematography (Tele-Features, TV Drama & Mini-Series), but also this year's Outstanding Achieve-ment Awards of the American Society of Cinematographers in the category of movie / miniseries / pilot category for his work on THE COMPANY, shot on the ARRIFLEX D -20. Nott‘s other credits include NIGHTMARES AND DREAM -

SCAPES: FROM TH E STO R I ES O F

STEPHEN KING, COUNTER STRIKE and CODE RED. He was previously nominated for the ASC Award in 2005 for the horror miniseries SALEM‘S LOT, for which he won the Cinematographer of the Year Award from the ACS.

“From the outset the D-20 was a very smooth transition because there’s a very film camera feel to the system. It has the same familiar form as other film cameras in the ARRI family. Secondly, it was lovely to have an optical viewfinder. I’ve worked with other digital cameras subsequent and I have to say looking at an electronic im-age through a viewfinder does not com-pare to the optical finder offered by the D-20. I commend ARRI on the development of a system that is very familiar to people who’ve shot film their whole careers,” said Nott.

Recent competitions celebrating the

art and technique of filmmaking have

helped establish the ARRIFLEX D-20

as one of the most versatile tools for

productions of all ranges.

V V V V V C o n g r a t u l a t i o n s

For more information go to www.captainaburaed.com

CAPTAIN Abu RAEDFor CAPTAIN ABU RAED, an emotional story about the human condition, the ARRIFLEX D-20 rendered appropriate visuals that led to the Sundance Film Festival World Cinema Audience Award: Dramatic. Directed by Amin Matalqa and shot by Reinhardt Peschke, CAPTAIN

ABU RAED is the first feature film to come out of Jordan in 50 years. The production tells the story of an aging airport janitor who is mistaken for an airline pilot by a

group of poor neighborhood children and whose fantastical stories offer hope for a sad, sometimes unchangeable, reality. With a lack of laboratories in the Middle East, the filmmakers chose to keep control of the footage in their own hands by capturing with the ARRIFLEX D-20.

“We wanted a really nice, pristine, appealing, look with the least amount of grain. I was worried about not having a lab in the Middle East and concerned with customs handling film shipments every day, so we opted to shoot with the D-20,” notes Peschke.

“I really liked the camera, especially the viewfinder system. Since we had so many children in the film, I thought we could have longer takes and get better performances. The D-20 was a great choice for a camera and the whole experience was very rewarding.”

Michael Zimbrich (1st AD), Ben Nott (DoP), Michael Carella (A Cam OP), Michael Salomon (Director), (f.l.t.r.)

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ARRIFLEX D-21

down sampling algorithm. A cleaner signal path, improved internal power management, the automatic correction of defect pixels through Defect Pixel Correction (see DPC sidebar) and the elimination of various arti-facts have led to improved low light perfor-mance. Color management Look Up Tables (LUTs) for 100, 200, 250, 320, 400, 500 640 & 800 ISO equivalent are now available, in addition to Log C and Log F.

Beyond its image quality, the D-21 is distin-guished by its operational flexibility. The D-21’s unique construction allows different output signals to be generated, accommo-dating diverse production needs and work-flows. In HD Mode, HD output options include Lin or Log, 4:2:2 YCbCr or 4:4:4 RGB and Normal or Extended Range. Alternatively or simultaneously, the D-21 can output the raw Bayer data. In Data Mode, the full resolution of the entire D-21

sensor can be utilized, delivering a larger image than that of HD, offering numerous benefits (see D-21 Raw Data Main Fea-tures) for productions.

ARRIRAWGreat strides have been made towards a feasible method for recording raw data. The 12 bit ARRIRAW format contains the raw Bayer data and can be used up to 30 fps. Connecting the D-21 to a suitable recorder is as easy as using two BNC cables, thanks to the ARRIRAW T-Link method, which packs the ARRIRAW data into a standard dual link HD-SDI stream (see ARRI -RAW T-Link). Close cooperation with manu-facturers of data recorders ensures a method of recording and previewing image data. ARRI software tools that are currently in beta testing can process the ARRIRAW files through advanced image reconstruction (debayer-ing) algorithms. The ARRI software can out -

An Upgrade to the ARRI Film Style Digital Camera

The D-21 can provide various HD formats and raw data at the same time through its flexible output options

Based on extensive feedback collected over

the last three years, we have undertaken a

major upgrade of our film style digital camera.

While retaining the same housing and the

same sensor as the D-20, the ARRIFLEX D -21

shows significant improvements to the image

quality, simpler operation and new accessories.

Further new options include the ARRIRAW

T-Link transport method for raw data and the

use of anamorphic lenses.

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While modern image sensors are veritable miracles of tech-nology, the very fact that they crowd millions of tiny picture elements (pixels) into the smallest possible space creates also some defect pixels. Careful quality control during the manu- facturing process ensures that most pixels are performing just fine, but some pixels provide no signal, some too much signal and others a signal with too much noise. Moreover, it is difficult to determine when a given pixel will decide to go bad. This is an issue affecting all digital cameras, and while it has been dealt with in the D-20 through a manual method for creating a defect pixel map, it has been greatly improved through a fully automatic defect pixel detection and correction system (DPC) in the D-21.

The detailed functionality is complex, but the basic concept works like this: the D-21 constantly checks each pixel in each frame against a reference field of surrounding pixels to identify defect pixels. It does this based on the fact that even small image details

will bleed a tiny amount into surrounding pixels (see images). If a defect pixel is identified, the D-21 uses a special algorithm to re-place it. At 60 fps, the D-21 evaluates a staggering 42 million pixels per frame, that works out to 2.5 billion pixels each second. Amaz-ingly, the whole analysis and correction procedure works in real time. Thanks to the processing power of the D-21‘s FPGAs (Field Programmable Gate Arrays, essentially re-programmable computer chips), the DPC adds no delay to the image processing pipeline.

Because the DPC catches and replaces not only dead and defect pixels, but also pixels that exhibit visibly more noise than their neighbors, the D-21 gains the added benefit of a very subtle noise reduction in the dark parts of the image. As the DPC works auto-matically on each pixel of each frame as soon as the camera is turned on, there is no more human intervention necessary.

Defect Pixel Correct ion (DPC)

put either an HD image or a 2k data file. The 2k data files are as easy to grade as data files scanned from film, since a spe-cial color conversion matrix and LUTs in the ARRI software create data files of the same pixel raster and film-like colorimetry as film scans.

Anamorphic FilmingSince the raw data format transports all pixels of the 4 : 3 aspect ratio D-21 sensor, the D-21 is the only digital camera that allows the use of standard anamorphic lenses, expanding the creative choices of directors and cinematographers who choose to work with digital images.

Easy operation and updatesThrough suggestions from the field we have further simplified the controls of the D-21. Even though the D-20 has already been praised for its simple operation, we know how high the pressure on the set can be,

and how crucial a simple menu with easy to understand commands is. The D-21‘s frame rate can now be set only once on the Video Menu, and the Video Menu structure has been simplified for faster and safer operation. For remote situations, it is possible

Here is a 200 × 150 pixel excerpt from a D-21 image. The camera was looking at a black piece of card-board with tiny holes, some with red, green and blue gels, placed before a light box to create an image with very small and detailed image content. The pur-pose of these images is to illustrate the DPC process. The actual DPC is being performed on the raw Bayer data, and thus difficult to show.

A further zoom in reveals a (simulated) bad pixel that has turned completely green. It is easy to see here that even pixel-sized details of image content look distinctly different from a defect pixel.

The DPC has identified the bad pixel and replaced it with a new pixel. While a simple averaging of surrounding pixels had been tried originally, that turned out to be not completely invisible and tended to “smear” the image content. So a specialized algorithm had to be created to ensure that the newly calculated pixel blends perfectly into its surroundings.

The D-21 sensor has a 4 : 3 aspect ratio, allowing the use of any anamorphic lens. Here is the original 4 : 3 (= 1.33 : 1) image from the D-21, shooting a test chart at ARRI CSC with an Optimo 24-290 and an anamorphic rear-adapter

By stretching the image in postproduction, a 2.66 : 1 image is obtained. The proper 2.39 : 1 aspect ratio can now be achieved by cropping the sides

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D-21 Raw Bayer Data D-21 Raw Bayer Data mapped into RGBA transport stream

HD Preview Image RGB Image

ARRIFLEX D-21 2 × BNC Cables Dual Link HD-SDI Stream

Data Recorder Postproduction

D-21 Raw Bayer Data

RGBA Format

Real-time Image Processing

Non-real-time Image ProcessingRGBA Transport

Stream MappingD-21 Raw

Bayer Data

Recorder File Format Unpacking

RGBA Transport Stream Extraction

Image Reconstruction

HD Preview Image

File Formatting D-21 Raw Bayer Data

RGBA Format

Recorder File Format

Recorder File Format Unpacking

RGBA Transport Stream Extraction

Image Reconstruction

RGB Image

One of the obstacles that has stymied the use of raw data in the past has been the problem of how to get data easily from the camera to a recorder. ARRI engineers have found a way to utilize a standard dual link HD-SDI connection to transport the raw D-21 Bayer data. This new transport method is called “ARRIRAW T-Link” (Transport Link). It allows any recorder capable of recording an uncompressed dual link HD-SDI stream to record raw D-21 Bayer data, greatly simplifying the raw data workflow for manufacturers and users alike.

The properties of the dual link HS-SDI connection are defined in SMPTE 372M. The standard specifies a maximum data rate of 2.97 GB/s, which is enough bandwidth to carry the 12 bit D-21 raw Bayer data. SMPTE 372M also defines a number of standardized source signal formats to be sent through two BNC cables (affectionately known as Link A and Link B).

One of those source signal formats is the RGBA format. RGBA stand for red, green and blue plus an alpha channel, technically called 4:4:4:4 (R'G'B' + A) / 10 bit. The ARRIRAW T-Link works by mapping the 12 bit raw Bayer data into this RGBA data stream, so that it can

be transported via a dual link HD-SDI connection. Any recorder that is capable of recording a SMPTE 372M compliant RGBA signal and playing it back without compression or further encoding can record this signal. If the signal is recorded by a data recorder, the additional option of a live preview exists. The data recorder can extract the original D-21 raw Bayer data out of the RGBA data stream, and use a real-time image reconstruction (debayering) algorithm to display the 4 : 3 image as a 1440 × 1080 preview HD image. If anamorphic lenses are used on the D-21 a suitably “de-squeezed” image can be displayed on an HD monitor.

A similar process is used in postproduction. The original raw Bayer data is extracted from the RGBA stream, and advanced debayering algorithms are used to reconstruct a pristine image in HD or 2k. Doing this in post has the added advantage that it does not have to be done in real-time, so a significantly better image quality and greater flexibility are possible. Note that throughout the whole process, the image always stays uncompressed, at the highest quality.

ARRIRAW T-Link

Locking the left side display will now also lock the jogwheel in the back

to control the camera from a laptop via an Ethernet connection. The LOCK sliding switch on the camera left side display will now lock the buttons on that display, as well as the jogwheel on the back to avoid accidental operation.

The D-21 Update program provides easy updates with the push of one button

Software updates can now be achieved through a simple Windows program, and are being distributed through the same method already successfully used for ARRI film cameras.

The D-21 Video Menu in standard mode. A cleaned up menu structure makes operation of the D-21 on the set safer and faster

The D-21 Video Menu in advanced mode

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AccessoriesA number of new hardware pieces complete the picture. A new shoulder set D-1 has been created specifically for the D-21. Similar to the ARRICAM shoulder set in functionality, the D-1 can accept a quick release plate, which attaches directly to a tripod head. Additional ground glasses for

the 1.33, 1.78, 1.85 & 2.39 formats will soon be available. D-21 cameras can be equipped with the FEM-2 addition, which provides a built-in radio for wireless lens and camera control. The FEM-2 also contains motor drive electronics, so the ARRI Controlled Lens Motors (CLM) can be plugged directly into the camera without any annoying extra boxes. And last but not least, the SONY Fiber Remote SFR-1 allows the remote control of a SONY HDCAM SR field recorder through the D-21‘s fiber optic link SONY Fiber Interface SFI-1.

For us as an equipment manufacturer, developing a film camera and developing a digital camera are processes with interesting similarities and differences. While both share elements we are very familiar with, like an optical viewfinder, a mirror shutter, PL mount lenses, similar ergonom-ics and accessories, there is a basic difference that required the establishment of a whole new

department within ARRI: in a digital camera we are responsible for the actual image creation. The proprietary technology that creates the uniquely beautiful D-21 images has now been given its own name: ARRI Imaging Technology (AIT).

AIT stands for the smart orchestration of a custom designed CMOS sensor, a finely tuned optical low pass filter, a powerful imaging hardware engine and advanced image processing algorithms. Each part of the D-21 is custom developed to perform optimally in a digital motion picture camera, and thus we fully control the D-21‘s imaging chain down to the smallest detail. This allows an optimization of the whole system far beyond what would be possible with off-the-shelf components. In addition, we are engaged in continuous testing and improve-ments to all parts and their interaction. Through AIT, the D-21 produces outstanding images with a cinematic look and feel, high dynamic range, high contrast and the most film-like color reproduction of any digital motion picture camera.

ARRI Imaging Technology

The CMOS sensor inside the D-21 was designed and developed speci fic-ally for use in ARRI high end motion picture cameras. Its Super 35 size and 4 : 3 aspect ratio ensures per-fect compatibility with the unequalled variety of exist-ing spherical and anamor-phic cine lenses

The Functional Expansion Module FEM-2 contains motor drivers for lens motors, hardware and software for the Lens Data System as well as a slot for an optional radio. With the Universal Radio Module URM-3 installed, the D-21 and its lens can be easily and quickly controlled by the ARRI Wireless Remote System (WRS)

The shoulder set D-1 has three cooling vents built into the shoulder pad that provide air to the D-21 cooling shafts. A quick release plate can be attached to the bottom of the D-1

The SFR-1 can start (REC) and pause (PAUSE) recording of the SONY HDCAM SR field recorder. In addition it can play back a few seconds of the last take (REVW) and shows when the deck is recording (green TALLY LED) or ready to record (blue READY LED)

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A number of powerful FPGAs (Field Programmable Gate Arrays) constitute the imaging hardware engine inside the D-21. They are a crucial component of ARRI Imaging Technology

ARRIFLEX D-21 Main Features

optical Viewfinder • zero delay • outside image area • bright, full color image • works without power • fatigue-free viewing

ARRI Imaging Technology (AIT) • custom designed CMOS sensor • custom designed, powerful imaging hardware engine • unique ARRI image processing software • carefully tuned system integration

Cinematic Image Quality • AIT creates a cinematic look • rotating mirror shutter for film-like motion portrayal • single, Super 35 format sensor for 35 format depth of field • highest dynamic range of any motion picture CMOS camera • super sharp, alias-free images through over sampling, finely tuned optical low pass filter & advanced image reconstruction algorithms • extended color space provides natural, film compatible color reproduction • consistent match between cameras

35 Format Film Lenses • industry standard PL mount • unequalled variety of prime, zoom & specialty lenses • compatible with spherical and anamorphic lenses (1.33 : 1 sensor format)

Compatibility with 35 Format Film Accessories & Support Equipment • ARRI matte boxes, follow focus, wireless remote control • dollies, cranes, Steadicam, etc.

A True ARRI Camera • silent running < 20 dBA @ 24 fps, (no fan) • simple operation • robust construction • ergonomic design • variable speed (slow motion, ramps)

Flexible output options: Data and / or hD modes • simultaneous data & HD outputs possible • Data Mode: 4 : 3 ARRIRAW uncompressed data for film-like 2k workflow • Data Mode: ARRIRAW T-Link • HD Mode: 16 : 9 uncompressed HD output • HD Mode: Lin or Log, 4:2:2 YCbCr or 4:4:4 RGB, Normal or Extended Range • Fiber optic option allows cable lengths of up to 500 m / 1,600'

modular Architecture • sensor, electronics & firmware can be upgraded • secure investment • long product cycle

D-21 Raw Data Main Features

Superior Image Quality • uncompressed, unprocessed 12 bit raw Bayer sensor data (ARRIRAW) • the output option with the highest dynamic range & lowest noise • images are “developed” in post with AIT advanced image reconstruction (debayering) algorithms • decisions regarding color space conversions and look up tables are made in post • upgraded image reconstruction can be applied to archived raw data for better image quality

use Full Sensor Resolution for 2k or hD output • 2880 × 2160 (4 : 3) at 24 and 25 fps • 2880 × 1620 (16 : 9) at 30 fps • finer detail and crisper edges • 2k files have the same pixel raster and film-like colorimetry as 2k scanned data from film • easy, familiar post workflow • easy image reposition and cropping

Cinemascope • anamorphic lenses can be used

Flexible workflow options • simultaneous data and HD output possible for HD video monitoring & offline editing • ARRIRAW T-Link: transport ARRIRAW data via dual link HD-SDI • ingest converted data files to NLE

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With Honors: WELCOME TO ACADEMIAand the ARRIFLEX D -20

Having the ability to fully capture the grandness of the locations was an important factor in choosing the ARRIFLEX D-20

David Dunlap and the camera

A walk and talk scene using the Steadicam

WELCOME TO ACADEMIA isn’t your typical college movie with keg parties, young coeds and campy

hijinks that ensue. Instead, the recently wrapped independent film shows another side of university life

seldom portrayed on screen – that of the professors and their struggle for power up the tenure ladder.

Directed by Kirk Davis from the script he penned with Elzbieta Szoka, WELCOME TO ACADEMIA is a

dark comedy starring James LeGros, Callie Thorne and Jess Weixler.

Producer Laura Cartwright and Unit Production Manager David Stuart

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design deserved to be visually captured in all its glory. “One of the reasons that we chose this camera was because it had the single chip the size of a 35 mm frame,” he says. “That was important so the grandeur of the spaces would come across. Kirk wanted the school itself to be a character in the movie. The D-20 captures a lot of infor-mation so the lighting schemes and the pro-duction design could really come out.”

It may sound strange to shoot a film set at an Ivy League university in New Orleans, but the classical design of much of the Crescent City and its historical buildings worked per-fectly as locations. Says Cartwright, “We were looking mostly in the Northeast and the East Coast for an Ivy League-looking type school, but when we started looking at the resources available, meaning: crew, equip-ment, housing, and tax incentives, New Orleans became a no-brainer. We were a bit hesitant because it was hurricane season, but the benefits of shooting here far out-weighed the risks. We used several New Orleans historic locations; lovely, grand, old spaces that are going to come across really well with this camera.”

For a Halloween costume ball sequence, Davis and Dunlap devised an intricate cam-era set-up that required careful choreogra-phy with the lead actors and 50 extras as Camera Operator Christopher Paul maneu-vered his way up the huge winding stair-case. “That was the whole point of choosing to shoot with the D-20, because it had the capabilities we were looking for to make ACADEMIA exciting visually. This shot re-quired Steadicam and made a different and interesting way to view a party instead of being static, filming a group standing around at a party,” Cartwright notes.

As an independent film that didn’t have a huge budget, the production offered a new, original story that couldn’t afford to be

bogged down in complicated and often, con- fusing hi-tech details. “The D-20 is different than other HD cameras I’ve used, because it has an incredible software interface,” says Stuart. “Filmmaking is already such a com-plex process and it can quickly spiral out of control. Working with Alex Vollstaedt (Senior Engineer Digital Imaging) and Charlie Tammaro (Camera Department Manager) at ARRI CSC NY was great, because they knew this camera and the workflow backwards and forwards. We didn’t have to go through a lot of jargon and we got whatever we wanted. That was the great thing about this camera, it could handle everything.”

Cartwright and Stuart previously worked with the director on SCREEN DOOR JESUS, an indie feature shot in 2002. On WELCOME TO ACADEMIA, it was an opportunity to reunite for another rewarding collaboration. “We’ve all matured quite a bit in skills and our taste since we last worked together,” explains Cartwright. “Plus, we already had a working rapport, so all of those things that can make the beginning part of a film a little bit difficult were easier for us this time around. This has been a really pleasur-able experience for us all to come together and do this film.”

WELCOME TO ACADEMIA is currently in postproduction and prepping for a theatri-cal release.

An Tran

To bring these unique characters to the screen, the filmmakers opted to shoot on the ARRIFLEX D-20 HD camera from ARRI CSC in New York. Explains Laura Cartwright, who served as the film’s producer, “The director and the Director of Photography David Dunlap were both very interested in finding a camera that was as close to film as possible in terms of the depth of field and clarity. Kirk wanted to lead the viewer’s eye across the screen and have them focus on what he wanted. We were looking at two cameras: the Genesis and the D-20. We ultimately settled on the D-20 for many re a - sons, one of which was that it is more com- pact than the Genesis. We had a lot of Steadicam work on this show and that was a big factor.”

Besides employing the D-20 on Steadicam, the camera was moved frequently through other methods to lend energy to scenes. Unit Production Manager David Stuart adds, “We used jib arms and cranes, which some-times had weight limits. Having a camera that could handle all the things that the direc- tor and DP wanted, [and] wasn’t going to break the back of our Steadicam operator made the D-20 the right choice.”

As one of the first features to use the ARRIFLEX D-20, the producers wanted the filmmaking process to be as transparent as possible. “It was important for Kirk that the perfor-mances were always where the attention was. We didn’t want technology to rule the production. We really wanted the story and the performances to come out. That’s the amazing thing about using such a cut-ting edge camera – you can go either way,” says Stuart.

WELCOME TO ACADEMIA is set at Victorian College, a fictional Ivy League school. To convince viewers of the setting, Davis wanted old buildings and beautiful architecture for many scenes. Stuart explains the production

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F.l.t.r.: Karl von Moller (DOP), Grant Sweetnam (1st Camera Assistant), Collin Williams (Gaffer), Arthur Manousakis (Grips Assistant)

The LONG WEEKENDAustralian Feature Shot On the

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20ARRIFLEX D-20

For the film LONG WEEKEND we had two ARRIFLEX D-20s that were very reliable and surprised me on a daily basis. Despite being a digital system, which in my previous experiences has always felt fragile for the rigors of filmmaking, the ARRIFLEX D-20 proved to be very tough! We shot during some of the hottest days in Australia. The cameras were exposed to some of the harshest conditions: very hot windy days, rain, dust, flies, sand, and the camera’s never lost a beat!

When stripped down to the bare minimum, i.e., no onboard monitors or 6” × 6” matte boxes, etc., and using a set of handlebars, the D-20 was very comfortable to use in handheld mode. Both camera assistants found the body easy to maintain and use. The menu structure is simple and easy to understand. Overall usability is excellent, as well as versatile. In addition, ARRI s ac-cessories interchange with their film based camera systems, so rental houses don´t need to purchase all the ancillary equip-ment again.

For the LONG WEEKEND, I was keen to use the Log modes at the highest standard I could record in 4 : 4 : 4 HQ modes on the Sony SRW-1. LONG WEEKEND was filmed in a remarkable area in Victoria, Australia called Wilson s Promontory, a large natio- nal park with rugged wilderness. Director Jamie Blanks wanted to frame in 2.35 to

compliment this impressive piece of nature. My immediate concern was, how large can we blow up the digital image and still retain the beauty of the landscape? I shot some tests on an ARRIFLEX 235 using Fuji 125, 250D and some 500T while simultan-eously recording the same actions with the ARRIFLEX D-20. Through our postproduction Lab Cinevex, we scanned the 35mm film at 4k and projected the images digitally side by side to compare it with the D-20. That s when I got very excited about the possibili-ties of the D-20, as did Jamie.

The ARRIFLEX D-20 is a camera system that may not be suitable for all occasions, espe-cially since the D-20 is reliant on an outboard recorder like Sony s SRW-1. However, if you truly want impressive resolution and latitude, which I do believe is around 10 stops, you can t go past the ARRIFLEX D-20. I´m already very keen to find out what ARRI has installed for the future, with the murmurs of the D-21 already circulating.

I also would like to say a special thank you to ARRI Australia, who supplied the equip-ment. Their service and attention to detail was some of the best I have ever seen, given our time frame and budget. We placed a lot of demands on them and they graci ously dealt with each request in an expedient manner.

Cinematographer Karl von MollerPhot

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From left to right: Jody Muston (2nd Camera Assistant), Loyd Carrick (he is just seen in the BG – Sound Recordist), Paul Walton (1st AD), Jamie Blanks (Director)

Jody Muston, Camera Assistant (left) and Nigel Odell, Producer (right)

For the Australian feature film LONG WEEKEND, we decided to use the ARRIFLEX D-20 for a number of reasons. One of them was due to the pre- condition placed on the production to acquire the images using a digital system. I had experienced the ARRIFLEX D-20 on the Australian leg of THE

BANK JOB and was amazed with the D-20’s handling of latitude and depth of field. Finally here was a digital camera that could record an image using the best film lenses, without an intermediate adaptor, recreating the depth of field of 35 mm film.

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Pitch Perfect Super 16 on

For Chan, the aesthetic look and feel of HD did not seem like the proper choice for this kind of material. “I love HD. On my short film I did some bits and pieces on HD, but I just didn’t feel like this film was right for it,” he explains. “This is a classy film, and Super 16 gave it an elegance. There’s something about HD, I feel like it still isn’t quite there yet. Of course I wanted to shoot 35 mm over 16mm, but in the end, it became easier for us with the [tight] spaces we were in. The 16 mm camera packages were much smaller. It proved to be the right fit.”

The production took advantage of using the newest, most compact Super 16 camera available: the ARRIFLEX 416. IVORY rented two of the 416s from Otto Nemenz Inter -national in Los Angeles – the first camera house to have the cameras in stock in the United States. The entire project was mainly shot on Kodak Vision 2 500T 7218. “I’d shoot a film with a $ 100 million budget this way if we needed to use extraordinarily portable cameras and a little more texture,” Morgan points out. “The new camera is

so advanced, it’s incredible. It’s so light, and it was really good to use on Steadicam and handheld. We could put the camera anywhere.”

The light weight of the 416 made frequent camera movement almost effortless. “I like to move the camera a lot, as much as I can. I like to play with perspective. I like to some- times start on a master, then push into a POV, and come back around within the scene. We had a few scenes where it all plays out in one take, through camera move- ment. I think the longest [such take] was two and a half, three minutes,” Chan says.

There were moments when moving the camera became a versatile tool when the crew was behind schedule, for example in a scene between a professor and the lead pianist. Notes the director, “It’s right after a Christmas party, and they’re in a kitchen. We were pressed for time. In the script, they have a dialogue and then they do this waltz together. We didn’t have enough time to shoot the dance portion of the

scene, [so] through blocking with the actors and the camera; we created a dance within the dialogue that proved to be very beauti ful. The camera was moving all over the place – we had an insane amount of dolly moves.”

One major challenge overcome early on involved using actors who were not experi-enced piano players. “On the second day, we shot a scene where the two are dueling on the pianos. From then on, we knew it was going to work. We had a sponsorship from Yamaha, which has a technology called the Disklavier. It’s basically a very advanced player piano, where you can mute the piano, stick in a MIDI disc, and the keys go down. We were all so amazed by how these actors were able to pull it off. They had about six weeks to train on the piano. The actors learned the fingering and we were very diligent in knowing which excerpts we wanted to shoot,” says Chan.

Morgan often utilized a two-camera setup for piano performance scenes. “We had

The gripping world of concert pianists is brought to screen in IVORY, directed by Andrew

W. Chan and shot by Donald M. Morgan, ASC. Starring Martin Landau, Peter Stormare,

Tim Draxl, Travis Fimmel, Erika Marozsán, Charlotte Salt and Beau Garrett, the feature follows

two young rivals at a music conservatory as they prepare for an international piano competition in

Budapest. Although producers initially proposed shooting the low budget film on HD, Chan and

Morgan pushed for the rich palette of the Super 16 format to help convey the emotions and intensity

of musicianship at this expert level.

F.l.t.r.: Cinematographer Don Morgan, ASC and Director Andrew Chan discuss the scene Morgan sets up the shot for the ARRIFLEX 416

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(THE GODFATHER trilogy). Notes Chan, who graduated from USC’s film school, “I learned a lot about stamina – this was the biggest thing I’ve ever done. And I learned about trust. I did every single thing on my short film. I had to be able to let that go, and allow Don and my actors to create on their own as artists themselves. What we got was so beautiful, and I never would have thought of it on my own. You get to collaborate in this medium and I absolutely love it.”

With over 70 credits to his name, Morgan brought some experienced crew to work alongside students from the Oklahoma Film

an agreement early on that if the lighting wouldn’t handle two cameras, we wouldn’t do it. But oftentimes, we would shoot a tight and loose shot at the same time, or sometimes a tight and tighter shot. There was an awful lot of piano playing going on, so there were chances to shoot through the piano at the face, and then have another camera on the keyboard,” says Morgan.

IVORY is Chan’s first feature film and for the young director, it was a huge learning experience supported by seasoned profes-sionals like Morgan, a five-time Emmy winner and veteran Producer Gray Fredrickson

Institute where Fredrickson teaches. “We had top notch people who really know their craft and we were backed by these really excited film students. What they didn’t know in technique, they gave us in enthusiasm. There was an energy to this film that I always felt; I never got tired during it. As many years as I’ve been around, I’m still excited making films,” says Morgan with a smile.

The collaboration of fresh ideas with years of experience proved to be a successful formula for the filmmaking team. “Andrew comes from a generation that has watched a lot of videogames and television. It’s a whole new world now and one of the rea-sons that older cameramen are not getting picked by younger directors is that they resist the newer ways of shooting.” says the cine-matographer. “[Shots] are a lot tighter now than when I grew up. I think the magic of what we were able to accomplish as a team, was that I talked him into shooting a little wider, he talked me into a little tighter, and out of that, we came up with a nice com bi na- tion. What I tried to do was to trust Andrew’s instincts, because he was trusting mine.”

An Tran

Morgan often utilized a two-camera setup for piano performance scenes

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Capturing the warm morning light (created by 10 × 12 kW Tungsten sources outside the windows) during a draft scene in the 1940s

Cinematographer Stijn Van der Veken: “In dark scenes the bright viewfinder of the 416 is great!“

A TASTE of Super 16For his current project, a high-end television series called TASTE, produced for the Belgium National TV, Cinematographer

Stijn Van der Veken purchased an ARRIFLEX 416 and a set of Master Primes. Reason enough for Giuseppe Tucconi and

Marc Shipman-Mueller to visit him on the set in Hasselt, a small town outside of Brussels. In addition to the outstanding

catering (where else but Brussels do you get a three-course lunch on the film set, including red wine and crème brûlée?)

they brought back an impression of a happy, well-functioning set and this interview.

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A young Helena De Keyser in a screenshot of the 1940s look

Helena De Keyser in later years in the gin factory

Alfred and George's experiences during the war allow for some dramatic lighting effects (actual screenshot)

Helena De Keyser (middle) has to choose between Alfred (left) and George (right)

An unconscionably short plot summary

Helena De Keyser is a young girl in 1939. She’s in love with two men: Alfred and George, but chooses Alfred. Both men are called to war, where they are captured. Alfred dies, and George is the one to return, ultimately marrying Helena. Later, doubt is cast on what happened during the war, and Helena and George grow apart. Only when George dies at the age of 80 does she ask her granddaughter Alessandra to delve into the mystery surrounding Alfred’s early demise, a mystery that contains some emotional surprises and leads to an unexpected ending.

TASTE?: Stijn, first tell us about your background.Stijn Van der Veken: I have worked in Super 16, 35 and HD, shooting documenta-ries, fiction, commercials and music videos. I have worked a lot on documentaries all over the world. That is where I learned to be flexible. When we shot documentaries, we always tried to make it look like feature films, and we had to be on our toes to do that.

?: What is this project you are working on now?SVDV: It is a television series for Belgium National Television called DE KEYSER VAN DE SMAAK, in English TASTE. We are also thinking about a theatrical release. It is the story of three generations of the De Keyser-family, who are gin distillers in Hasselt. We show the story of this family in the present, while also following their research into their past. This is a big production; we have 125 shooting days with more than 125 loca tions in Belgium, Sicily and France.

?: What format are you shooting this on?SVDV: We are shooting in 16 : 9. Belgium was one of the first countries in Europe to have 16 : 9 for all programs on all TV stations. The production company Caviar wanted to shoot film from the word go. I thought it would be easier to achieve the look for the different time periods with film; I did a long test comparing HD, 35 and Super 16 for day, night, interiors and exte-riors. We viewed it all on a split screen. I have shot on HD in the past, and if you look at the resulting image it looks good, but the amount of work to get there was amaz-ing. It takes a lot of work to make HD look good. The 35 film looked great, but was too expensive for our budget and for such a long project. Super 16 looked great and is less expensive, so that is what we used.

?: And what camera are you using?SVDV: I saw the 416 at IBC last year, and we were just starting pre-production for this project. That is when I decided to buy the camera and lenses. The 416 is perfect! I got serial number 2001, the first camera from the first manufacturing run!

I love the low noise, it makes it so easy to work with this camera. The 416 also has great ergonomics, but most important is the viewfinder. The 416 viewfinder is very dif-ferent from all other 16 camera viewfinders. In the past I did not like the viewfinders of Super 16 cameras. If you moved your eyes a bit you would lose the image, and if you used a ND6 or 9, looking into the view- finder was like looking into a black hole! I often use ND12, and even when I am at a T4 and use a viewfinder extension I still see an image with the 416!

Also, an optical viewfinder with a ground glass is much less tiring than a video view-finder. A video viewfinder tires the eye very quickly. The importance of the ground glass is very high. There is now a very great syn-ergy between the film stocks today and the ground glasses of film cameras. When I look through the viewfinder, what I see is very close to what I get on film. If I see that a light looks a bit too cold in the viewfinder, then during dailies it will also look too cold. So I can correct it right on the set. For a large portion of the film’s response curve this is true, just at the very extremes you have to be a bit careful. With an electronic viewfinder you do not get that.

?: What lenses did you buy?SVDV: I bought five Master Primes, 16, 25, 35, 50 and 100 mm, and one 8 mm Ultra 16 lens. I use three lenses most of the time in Super 16: the 25, 35 and 50 mm. The 50 is for close-ups, the 35 for two-shots when I want to have a bit more distance, and the 25 for wide shots and two-shots when I want to be closer.

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Director Jan Matthys during the choreography of the “water ballet scene”

Cinematographer Stijn Van der Veken (left) and director Frank Van Passel (right) setting up a shot inside a period car

I am now looking closely at the Master Prime 14, since sometimes the 16 is too close and the 8 too wide, and for shooting 35 I also want to purchase the Master Prime 150. For the Super 16 format, a 100 mm lens is OK, but for 35 you need a bit longer lens, like a 150.

?: Why did you buy Master Primes instead of Ultra Primes or others?SVDV: The Master Prime lenses are the best lenses in the world! Also, I can use them on Super 16 and 35, so if my next show is a 35 mm show, I already have the best lenses. And I think that the future of high end pro-ductions will be with the 35 format, be that in film or digitally, so Master Primes are a really safe investment. On the set, I love that the Master Primes show no breathing. Having a lens without breathing gives you more freedom in what you can do. Once you get used to that, it is difficult to go back to lenses that show breathing.

The difference between the Master Primes and older 16 format lenses is huge. I did a test, same focal length, same T-stop, shoot-ing resolution charts and a night in a har-bor. We viewed the result by split screen. I found the Master Primes to have twice the resolution of older lenses and there is an enormous difference in the sharpness. Also they have much more contrast and much less flare. The test in the harbor at night had lots of lights, advertisements and neon lights and lights of factories, and the Master Primes were brilliant. Interestingly, when I opened the older lenses all the way their performance dropped down. With the Master Primes, there is only a very slight drop in performance at wide open.

?: What camera support equipment do you use?SVDV: I don’t use any Steadicam. We use various dollies, sometimes a Panther Pega-

sus crane. We do a lot of car rigs and hand- held. The 416 is great on the shoulder, but also great inside a car. Since it is so small and light, it fits nicely in a car.

?: Did you plan for different looks for the different time periods of the series?SVDV: Yes. We have three different periods in this series. 1940s, 1960s and 2007. I did not want to do what is obvious, that is strongly grade the three different periods in a different way so the viewer knows instantly which period we are in. The trick is to make people really believe they are in the 40s, and if we use visual tricks like heavy grading, it becomes not believable. It must be done through the story, through the acting, and the photography has to support that in a subtle way. So we con- centrated on lighting, set design, costumes and makeup to differentiate between the periods.

Directors Frank Van Passel (second from left) and Jan Matthys (third from left) go over script notes with the actors

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A screenshot of the slightly desaturated 60's look, showing the pivotal character of Marchoul

Helena's granddaughter Alessandra in a screenshot of the 2007 look

TASTE CrewDirectors: Jan Matthys and Frank Van PasselCinematographer: Stijn Van der Veken (www.filmwerken.com)Camera Assistant: Jan VervaeckeClapper / Loader: Jelle HectorsGaffers: Bert Reyskens and Roel TanghePostproduction: Ace Digital House (Brussels)Grading: Peter Bernaers

Camera Assistant Jan Vervaecke attaches a 50 mm Master Prime for a close-up

The tasty camera crew (f. l. t. r.): Jelle Hectors, Kurt Reybrouck, Stijn Van der Veken and Jan Vervaecke

For the 1940s period I use a blend of Tung-sten and daylight, what I call a mixed key. It is a 3/4 key, part from the front and part from the side. I have an HMI daylight source, and then I place Tungsten light right behind that, with a wider spread. So the key is a cold light, but there is warm Tungsten light wrapping around on the shade side. I also use a warm backlight, slightly stronger than I would normally use. In the story, the time before the war is very romantic, so the light-ing is also very romantic, with a slight glow. This mixed key is a bit complicated to pull off, but it gives me the look I wanted. The 40s look was the most difficult to achieve because it essentially means we need twice the lights we would normally use. My Gaffer Bert Reyskens built a special light consisting of 48 neon tubes with different color bal-ances, and we could turn them on and off remotely.

The 60s look is based loosely on the look of Spielberg’s MUNICH. I use a 90 degree key, and only one color of light. Either all Tungsten, or all HMI, no mixed colors.

For 2007 I wanted a brighter feeling, more colors. We mixed a lot of light sources, daylight, Tungsten, neon tubes, lots of prac-ticals. I left the lights in the background all uncorrected to get more colors in the frame. The key is again a 3 / 4 front key. I wanted a crisp, brilliant look.

?: I understand you have two directors on this show?SVDV: (laughs) Yes, and both our directors get along very well. Jan Matthys and Frank Van Passel split the work 50 / 50. On big setups they will both direct, and on other days they switch scenes. Sometimes one will direct alone while the other prepares a big setup or a new location. It is a very effective way to work.

The way you put together the crew and the way you run the set is very important. You have to choose people who like each other, and who get along. We shoot about 4.5 minutes of script each day, that is a lot, and you only get good quality work if the crew can work well together. If you have to stop and discuss everything, the time is over too quickly. But when they like and know each other, they can work without needing to discuss everything. We have eight shooting hours each day, one hour of prep before and one hour of lunch, that is a 10 hour day.

?: And you have two gaffers? SVDV: Yes, that is also true. We have two chief gaffers, Bert Reyskens & Roel Tanghe. One does all the prep work, but once we are shooting, they divide the work between themselves. One may work for two months while the other does other projects, then they switch. It gives them the opportunity to work with other people and gather new ideas, and it keeps it fresh. It keeps the rou-tine out. This is a danger on a long show like this. Routine brings down the creativity. When the gaffer comes back from having worked somewhere else, he is refreshed, he has seen other things on other produc-tions and is eager to try them here.

?: What advice would you have for anyone shooting Super 16 for theatrical distribution?SVDV: Super 16 is a great format. The film stocks are getting very good, they are now very sharp with low grain, perfect for stand- ard and high definition television. If you shoot Super 16 to be projected on the big screen, you have to make sure all parame-ters are right, so you have to use the best stock, the best lenses, expose correctly and use a good telecine or scanner.

The most important things are the film stock and the lenses. I use Kodak 250D for inte-

riors and 50D for exteriors. They are slightly different in look, but I can get them together in post. At the end of the shoot we got some of the new Vision 3 stock and used that for exterior nights. Beautiful!

?: What do you see in the future for the Super 16 film format?SVDV: I think there is more of a future for Super 16 than people expect. For some, 35 is too expensive, and Super 16 now has a good image for television and the big screen. There have been so many changes technologically in Super 16. New film stocks, new lenses, new scanners. You can now scan Super 16 with the ARRISCAN at 3k and have a beautiful 2k output image for digital projection.

?: Thank you, Stijn.

Marc Shipman-Mueller

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On the heels of the very successful launch of the ARRIFLEX 416 Plus in 2006, we are now introducing the ARRIFLEX 416 Plus High Speed, offering higher frame rates for slow-motion shots.

ARRIFLEX 416 Plus HS

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In 2006, significant improvements to Super 16 image quality were made through advan ces in lenses, film stock and post technology. This led to a remarkable renaissance of the Super 16 format and the debut of the ARRIFLEX 416 and 416 Plus cameras.

Since then the interest in and the use of Super 16 has grown with more technological advances, pushing Super 16 even further. New film stocks expand the exposure latitude of film and new Ultra 16 lenses give cinema -tographers a complete set of nine Super 16 prime lenses from 6 to 50 mm. In post, the ARRISCAN will scan an oversampled 3k image for a pristine 2k output, optionally with a wet gate and/or DICE. New de-grain- ing options make the images more palatable for those finicky encoders.

Stunning Results in Super 16Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed

Jim Matlosz

exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and film being the only world-wide accepted standard format – at afford-able production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fast- paced production environments.

high Speed “Plus”Based on strong market demand, we are now introducing the ARRIFLEX 416 Plus HS. This new camera shares most of the features that have made the 416 and 416 Plus so pop-ular in a very short span of time. It sports the same 35-style viewfinder, high quality video assist, compact and lightweight build and the same ergonomic design. Available only in a “Plus” version, the 416 Plus HS is equip- ped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely con trolling camera and lens through the ARRI Wireless Remote System.

The 416 Plus HS also uses the same maga-zines as the 416 Plus. Unlike the 16SR series

First Test sHigh speed Cinematographer Jim Matlosz

was the first to shoot a real world test: “The 416 Plus HS was amazingly comfortable and ergonomically sound. Once I started really working with it, the camera was super smooth and easy to work with. I did shots with a first and a second AC and also shots by myself, there was no learning curve at all. It was super comfortable,

everything was in the right place. I was very impressed.

Having everything integrated into the system was absolutely phenomenal. To have that option at any time to use those functions with-out having to put on multiple boxes was great. Having the zoom control right off the body was absolutely amazing.

Being someone who loves shooting on film, I would use this camera for shooting anything from a narrative to music videos to com- mercials. I would definitely rather shoot film than HD.

Right away you can see the latitude in film, I don’t have to knock down lights. Everybody always tells you how easy it is to light HD, it’s just as easy if not easier with film because I don’t have to worry about my highlights. The combination of shooting on Kodak stock on an ARRI camera with ARRI lenses, I can be over several stops and I wouldn’t be worried.”

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Rotating components that are essentially flat can be balanced through a process known as static, or single-plane balancing. Counterweights are added to make sure the part‘s center of mass is aligned with its center of rotation. However, most rotating parts in a camera are not flat but have complex, three-dimensional shapes.

Examples of such rotating assemblies are the mirror shutter or the movement. Their principal axis of inertia, that is, the axis around which they want to rotate, doesn’t remain parallel to the axis of actual rotation, resulting in a ”wobbling”. This will not only increase the noise level and wear and tear, but will also create unwanted

Engineer Franz Ott is dynamically balancing the mirror shutter for one of the 416 Plus HS prototypes

What is Dynamic Balancing?

of cameras, which needed different maga-zines for high speed, the 416 magazines have proven completely up to the high speed task, simplifying equipment management in the rental house and on the set.

In order to increase the frame rate, however, three components of the camera had to be completely re-designed: the motor, the shutter and the suspension of the inner skeleton within the outer housing. To pull film faster through the camera, a new motor had to be developed. Specially wound coils provide faster running while not increasing the size

of the motor or the vibrations it produces.

At higher frame rates, any vibration created by the camera can

re-duce image steadiness, and thus resolution. To ensure a steady image even at

vibrations that can reduce image steadiness. Dynamically balancing means designing the assemblies so that at least two counterweights, but often more, are used to remove the wobbling. Thereby vibrations and noise can be minimized and the strain on the whole system can be decreased.

The new, faster motor was custom developed for the 416 Plus HS

The inner skeleton of the 416 camera body before anodizing, machined out of a solid block of aluminum. Note the yellow rubber insulators that prevent vibrations from creating unwanted sound

An exploded view of the 416 Plus HS mirror shutter. All yellow parts are

counterweights needed for precision dynamic balancing

higher speeds, the mirror shutter of the 416 Plus had to be completely rethought. While the 416 Plus mirror shutter has already been dynamically balanced, the number of balanc-ing adjustments for the 416 Plus HS mirror shutter was dramatically increased. Many more tiny counterweights allow the ARRI camera assembly department to fine-tune the shutter balancing four times as accurately as was possible with the 416 Plus shutter.

Last but not least the suspension between the 416 inner skeleton and the camera body‘s outer housing had to be made stiffer, again to reduce vibrations for a crisp and sharp image. All these changes combined make the 416 Plus HS the most advanced high speed 16 mm camera available.

Marc Shipman-Mueller

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• Super 16 Format high Speed Film Camera

• 35-style optical Viewfinder

– bright, high contrast, high resolution – large exit pupil allows more eye movement – multi-color RGB ARRIGLOW – accommodates wide diameter PL mount lenses – excellent optical quality with eyepiece extension

• high Quality Video Assist – excellent image quality – adjustable image enhancement

• Compact & Lightweight – small camera body – low profile design – 25 % lighter than 16SR 3

• Ergonomic Design – ergonomic shoulder cut-out – viewfinder removes quickly for Steadicam and remote applications – optional integrated radio & lens motor drivers – split bridgeplate for fast switch from tripod to shoulder

• Sound less than 29 db(A)

A Comparison of the 416 Models

ARRI 16 mm Product Range 416 416 Plus 416 Plus HS

Speed Range (fps) 1 – 75 1 – 75 1 – 150

Shutter Angles (degrees) 45 – 180 45 – 180 45 – 180

150 Degree Shutter Angle 1 yes yes yes

Sound (dbA) < 20 < 20 < 29

Weight (Kg/Lbs) 2 5.5 / 12.1 5.8 / 12.8 5.8 / 12.8

Viewfinder Quality +++ +++ +++

Viewfinder Handling +++ +++ +++

Viewfinder & Video Independent yes yes yes

ARRIGLOW multi-color multi-color multi-color

Integrated Video Assist yes yes yes

Video Assist Quality +++ +++ +++

Video Image Enhancement yes yes yes

Integrated Accessory Electronics no yes yes

Lens Data Display Plug 3 no yes yes

Timecode yes yes yes

Magazine Loads (meter/feet) 120 / 400 120 / 400 120 / 400

1) For 25 fps shooting with HMI, fluorescent and mercury vapor lights in 60 Hz countries2) Body, viewfinder, loaded magazine, video assist3) Lens Data Display can be connected to 416 Plus and 416 Plus HS for Lens Data Archive (LDA) use

Main Features

The last two years have seen a significant renewal of interest in the Super 16 format, with major steps forward in camera, lens, emulsion and postproduction technologies combining to facilitate images of unprece-dented quality. Used across the full range of genres and mediums, from feature films to commercials, documentaries, and both stan - dard and high definition television produc-tions, Super 16 offers a wealth of advan tages.

Russell Allen, Head of Features and Dramas at ARRI Media in London, explains that while TV dramas have traditionally been the most common Super 16 productions in Britain and Europe, feature films have also been taking advantage of the format’s possibilities recently. “At the end of 2007 we supplied two Super 16 features,” he says. “One was THREE AND OUT, shot by Richard Greatrex, BSC, which had a good script and good people involved; everything was in place but they just didn’t quite have a 35 mm budget, so they decided to shoot Super 16 and go through a DI. The other was A D U LT H O O D, which Brian Tufano, BSC shot with a 416.”

SUPER 16 SUCCESSES A ND ADVA NCES

The ARRIFLEX 416, the most advanced Super 16 camera in the world, has won an ever increasing number of supporters since its introduction in 2006. Praised by cinemato-graphers including Haskell Wexler, ASC and Barry Ackroyd, BSC, it is compact, light- weight, ergonomic, versatile, and, with the launch of the 416 Plus HS, high speed.

Though it can be used with almost any PL mount lens, it is perhaps best complemented by the new Ultra 16 range of prime lenses, which utilize state-of-the-art optics and allow T1.3 shooting even at longer focal lengths. Other lens manufacturers, such as Canon, are also continuing to support Super 16 by providing zoom lenses designed specifically for the format.

Many of the advantages of shooting on 35 mm apply equally to Super 16 because both formats utilize the same emulsions. Film has a unique look; it boasts exposure

latitude that surpasses any digital camera with stunning natural color reproduction. Advances in emulsion technology continue apace, and the release of Kodak’s new Vision3 stocks sets the image quality bar even higher.

The rapidly evolving world of digital post-production is also helping make Super 16 a viable capture tool for HD content as well as feature film productions. As part of a DI workflow, the ARRISCAN will scan Super 16 mm images oversampled at 3k for an optimized 2k output and offers options such as wet gate scanning and DICE defect removal. De-graining tools are in constant development and prevent losses of quality and detail when Super 16 footage is put through an encoder prior to broadcast on television.

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The first five Ultra 16 lenses were introduced in 2006 together with the ARRIFLEX 416. They were originally meant as wide-angle additions to the Ultra Prime lens set. Since then, customers have quickly adopted these lenses and found their optical quality, close focus performance and high speed irresist- ible, resulting in frequent requests for longer focal lengths.

Like the Master Primes, the Ultra 16 lenses combine high speed with outstanding optical performance. A widest stop of T1.3 allows shooting in low or available light to create more natural looking images and a cine-

center all the way to the edges, resulting in higher contrast and deeper, richer blacks. The Ultra 16‘s round iris opening leads to organic-looking, pleasing out-of-focus high-lights, and careful optical design ensures only minimal breathing.

The Ultra 16 lens scales are distinctly color coded to avoid confusing the different lens types. The Ultra 16 lenses are equipped with yellow scales for focus and aperture, while the Ultra Primes traditionally have white scales. The Ultra 16 lenses also have a blue ring next to the PL-mount, while the Ultra Prime barrel is completely black.

The Ultra 16 lenses are now the only com-plete set of carefully matched modern lenses for the Super 16 format, equaled by no other Super 16 lens in optical performance. All nine Ultra 16 lenses cover the whole Super 16 format and are fully compatible with the optical quality, color balance and ergono-mics of the other ARRI/Zeiss lenses. The Ultra 16 lenses are the perfect companions to the ARRIFLEX 416, 416 Plus and 416 Plus HS.

Marc Shipman-Mueller

A shallow depth of field is an important narrative tool for the cinematographer, and a feature sought after by other formats for its cinematic quality

matic look including, where necessary, a shallow depth of field.

Cinematographers used to pay dearly for high speed with reduced optical perfor-mance and increased flaring. The Ultra 16 lenses, like the Master Primes, change all that by combining fast speed with outstand-ing optical performance at all T-stops across the whole focus range. This previously unat-tainable goal was made possible through new manufacturing techniques, including the use of exotic glass materials, large dia meter aspherical lenses and radically shaped spherical surfaces. The Ultra 16 lenses exhibit high contrast, high resolution, almost no chromatic aberration (color fringes) and a great resistance to flaring. They are designed as close focus lenses, and so re-tain their outstanding optical qualities even up close.

The new T* XP multi-layer anti-reflection coating reduces flares and internal reflec-tions and creates a pleasing, gentle color balance. Compared to conventional coat-ings it has a better transmission and a more uniform performance from optical

An Ultra 16 lens during assembly. Clearly visible here is the blue ring that is used to distinguish between the Ultra 16 lenses and the Ultra Primes

ARRI and Zeiss have again combined their expertise to extend the Ultra 16 lens set with four long focal lengths. In addition to the existing 6, 8, 9.5, 12 and 14 mm lenses, cinematographers can now also use 18, 25, 35 and 50 mm Ultra 16 lenses. Thus the Ultra 16 lens set consists of a total of nine high speed (T1.3) lenses designed specifically for the Super 16 format.

New L O N G2 4 C a m e r a

Ultra 16 LensesCarl Zeiss project manager Holger Sehr is

visibly pleased with the quality of the aspherical lens elements used in the Ultra 16 lenses

(1) T* XP is the trademark for the improved Zeiss anti-reflex lens coating that reduces flaring and other reflections. XP stands for extended performance. (2) Close focus is measured from the film plane. (3) Measured from lens mount to lens front. This measurement shows how far the lens will protrude beyond the camera body. (4) Horizontal angle of view for a Super 16 camera aperture (DIN 15602 and ISO-5768-1998, aspect ratio 1:1.66, dimensions 12.35 mm × 7.5 mm / 0.486" × 0.295"). All data subject to change without notice

• Complete Set of Nine Close Focus Super 16 Primes– 6, 8, 9.5, 12, 14, 18, 25, 35 & 50 mm

• high Speed – T1.3– for complete control over depth of field– for shooting in low or available light– for natural looking images– for fast-paced production environments– for tight lighting budgets

• highest optical Performance– high contrast and resolution

– T* XP coating ensures flare resistance– image geometry free of distortions even at wide angles– minimized chromatic aberration– minimal breathing

• Smooth & Robust mechanics

• matches other ARRI / Zeiss Lenses– same size & ergonomics as Ultra Primes– Super Color Matched to Ultra Primes, Master Primes, Variable Primes & Lightweight Zoom LWZ-1

m A I N F E A T u R E S Ident Number:Ultra 16 T1.3/6 mm (meter scale) K2.47560.0Ultra 16 T1.3/8 mm (meter scale) K2.47561.0Ultra 16 T1.3/9,5 mm (meter scale) K2.47562.0Ultra 16 T1.3/12 mm (meter scale) K2.47563.0Ultra 16 T1.3/14 mm (meter scale) K2.47564.0Ultra 16 T1.3/18 mm (meter scale) K2.47580.0Ultra 16 T1.3/25 mm (meter scale) K2.47581.0Ultra 16 T1.3/35 mm (meter scale) K2.47582.0Ultra 16 T1.3/50 mm (meter scale) K2.47583.0Ultra 16 T1.3/6 mm (feet scale) K2.47565.0Ultra 16 T1.3/8 mm (feet scale) K2.47566.0Ultra 16 T1.3/9,5 mm (feet scale) K2.47567.0Ultra 16 T1.3/12 mm (feet scale) K2.47568.0Ultra 16 T1.3/14 mm (feet scale) K2.47569.0Ultra 16 T1.3/18 mm (feet scale) K2.47584.0Ultra 16 T1.3/25 mm (feet scale) K2.47585.0Ultra 16 T1.3/35 mm (feet scale) K2.47586.0Ultra 16 T1.3/50 mm (feet scale) K2.47587.0

u L T R A 1 6 S P E C I F I C A T I o N S

Name Type 1 Aperture Close focus 2 Length 3 Front diameter Weight horizontal angle of view 4

Ultra 16 T1.3/6 mm Distagon T* XP T1.3 to T16 0.20 m / 8" 91.6mm / 3.6" 95mm / 3.7" 1.0 kg / 2.2lbs 90.22°

Ultra 16 T1.3/8 mm Distagon T* XP T1.3 to T16 0.30 m / 12" 91.6mm / 3.6" 95mm / 3.7" 1.0 kg / 2.2lbs 75.83°

Ultra 16 T1.3/9.5 mm Distagon T* XP T1.3 to T16 0.30 m / 12" 91.6mm / 3.6" 95mm / 3.7" 1.0 kg / 2.2lbs 66.34°

Ultra 16 T1.3/12 mm Distagon T* XP T1.3 to T16 0.30 m / 12" 91.6mm / 3.6" 95mm / 3.7" 1.0 kg / 2.2lbs 55.32°

Ultra 16 T1.3/14 mm Distagon T* XP T1.3 to T16 0.30 m / 12" 91.6mm / 3.6" 95mm / 3.7" 1.0 kg / 2.2lbs 48.17°

Ultra 16 T1.3/18 mm Distagon T* XP T1.3 to T16 0.30 m / 12" 91.6mm / 3.6" 95mm / 3.7" 1.2kg / 2.6lbs 37.88°

Ultra 16 T1.3/25 mm Distagon T* XP T1.3 to T16 0.30 m / 12" 91.6mm / 3.6" 95mm / 3.7" 1.2kg / 2.6lbs 27.82°

Ultra 16 T1.3/35 mm Planar T* XP T1.3 to T16 0.35m / 14" 91.6mm / 3.6" 95mm / 3.7" 1.1kg / 2.4lbs 20.46°

Ultra 16 T1.3/50 mm Planar T* XP T1.3 to T16 0.40 m / 16" 91.6mm / 3.6" 95mm / 3.7" 1.2kg / 2.6lbs 14.76°

2 5C a m e r a

For all the furore over blood diamonds and fair trade coffee, what can you

claim to know about how the circuit boards inside your mobile phone,

laptop or DVD player are made? Well, all of these products rely on capa-

citors – tiny little energy-storing components made of tantalum, a rare

chemical element that can be extracted from the metallic ore coltan, short

for columbite-tantalite. Some 80 % of the planet’s coltan reserves are located

in the Democratic Republic of Congo, where primitive mines run by rebel

guerrilla smugglers finance a war that has so far cost 3.8 million lives.

Shocked by this fact, and by the West’s general ignorance of it, the cele-

brated British artist Steve McQueen resolved to make a short film installation

highlighting the violent and illegal coltan trade.

Sean Bobbit t, BSC takes an ARRIFLEX 235 from

ARRI Media into the Heart of Darkness

Adventures in the Coltan Trade

Sean Bobbitt at work filming the primitive mining operation

Sean Bobbitt trekking through the Congolese jungle

McQueen contacted cinematographer Sean Bobbitt, BSC, with whom he had collabo-rated on previous projects, and began dis-cussing the possibility of taking a camera crew deep into the Congolese jungle to film a coltan mine. Bobbitt, who recently shot the TV miniseries SENSE AND SENSIBIL ITY with ARRIFLEX 416 cameras and who has a background in war-zone photography, knew that the inhospitable environment would influence equipment choice: “Steve wanted the image quality of 35 mm film and he wanted to shoot in the widescreen 2.39 : 1 format; I agreed, not only on aesthetic grounds, but also for reasons of weight and reliability,” he says. “To get the image quality we wanted in HD, we would have had to take a big professional HD camera and those are heavy, large and very power hungry. They are also susceptible to high temperatures and humid- ity and are not as reliable as film cameras; there are simply too many components that can go wrong.”

“When you are a two-day walk and an hour and-a-half flight from the nearest town with a telephone, let alone a camera rental house, you want something that you know will work,” continues Bobbitt. “So a three-perf 235 was the way to go. We liked that it is modular and we could strip it down to its base components, leaving all non-essen-tial parts behind. We took the body, three 400’ shoulder mags, four OBB-1 batteries, a clip-on matte box, a polarizer and some NDs, three Ultra Primes, a pin-hole lens, and a Lensbaby. I made the pin-hole lens with two lens caps and the holes were laser-etched by a chap in Brighton who is a pin-hole specialist. In my tests I found that the shape of the pin-hole is not so important for the image quality, but it is easier to calculate exposure if the hole is actually round. The Lensbaby is essentially a shift-and-tilt lens on a flexible tube rather than on a stage; Andy Subratie at ARRI Media, London made me aware of that. My assistant Gordon

Segrove designed backpacks to carry the equipment; he was the one who made it all work as a portable kit.”

A delicate cease-fire was declared in the lead up to the 2005 DR Congo elections, which opened a small window of opportu -n ity. An organisation called the Diane Fossey Gorilla Fund International helped transit the compact team of Bobbitt, McQueen and Segrove in-country via Rwanda, after which they flew from Goma to Walikale in a six-seater Russian plane. “The flight took an hour over thick jungle,” recalls Segrove. “A strip of tarmac road between Mubi and Wali kale serves as the runway. Cars have to stop and there’s a bend in the road where the planes land. We touched down and the wings were only 30 feet clear of the trees on either side.”

Having planned for a single eight-hour trek to the mine, Bobbitt and the rest of the team, now including guides, porters and soldiers,

2 6 C a m e r a

Segrove (left) and Bobbitt (right) take a

break with the porters

Gordon Segrove frantically loading 235 mags during the hurried shoot

The team often had to cross rivers by any means available

set off into the jungle the following morning. “We walked the rest of that day, past a num-ber of small villages,” he says. “Each village had cut a soccer field into the jungle – this was at the height of the World Cup – and they were playing soccer. Every village had a small battery-operated radio and at night they would listen to the World Cup. Even in the heart of darkness, the World Cup was the most important thing happening.” Con-ditions were intense, with 100 % humidity and temperatures exceeding 130° F, so the going was extremely tough. “It became more and more apparent that this was more than an eight-hour walk,” says Segrove. “It was a two-day trek. We drank and drank in the heat, and by the time we reached a village to camp for the night, we had drunk over half of our water reserves.”

The second day proved even harder than the first as the group struggled through dense undergrowth amid the eerie silence left in the wake of desperate over-hunting by the starving, civil war-ravaged Congolese. That night they finally reached the mining village they were aiming for and set about commu-nicating their objective to its inhabitants. “Explaining what an art installation is to an educated Westerner is difficult at the best of times,” says Bobbitt. “So how do you explain it to an uneducated coltan miner in the middle of the Congo? They did finally get that we were not journalists and posed no threat to the wellbeing of the mine or the village, but I suspect they thought we were stark, raving mad.” Bemused, the villagers

gave their consent, though the local chief brought ill tidings later in the evening: “As it was getting darker he came back to inform us that one of the local militias was aware of our presence and interested in who we were,” continues Bobbitt. “They were plan-ning to come and he recommended that we not be there when they arrived. The mili tia was about 20 miles away and since you can‘t walk through the jungle by night we figured they would get there by lunch the next day.”

For the sake of their own safety, the team decided to allow themselves four hours of shooting the following morning before retra c- ing their steps and escaping ahead of the militia’s arrival. Leaving camp at 7am they began the punishing ascent and eventually arrived, gasping for breath, at the mine. “It was prehistoric,” remembers Segrove. “Three holes opened up the hill below us, with men digging and shovelling earth under guard. The earth is sifted down the hill and at the bottom panned through a series of water channels like gold mining.”

“We filmed for four hours, working up and down the hill looking for shots to document the process,” says Bobbitt. “These guys were knocking the dirt loose with an iron bar and then sifting through it with bare hands. The most modern tool there was a pick-axe. We had ten 400’ rolls of Kodak stock and were shooting documentary-style. Poor Gordon was constantly in the bag and also trying to keep up with me as I quickly went all over

the mine. Within the allotted time we did the best we could and then legged it.

”The brutal march out of the jungle was hin-dered by a severe shortage of water and blisters on Bobbitt’s feet so bad that they went right down to the bone, later necessi-tating the removal of almost all the skin on his soles. After an agonising delay in Wali -kale watching plane after plane take off with cargo loads of illegal coltan, the team finally nego tiated passage with one mineral-carrying Ukrainian pilot. Having established that they were flying in the right direction with the aid of Bobbitt’s compass, the be-leaguered team relaxed and an hour later landed back in Goma. “Boy, did we need a drink,” says Segrove.

Given the myriad of difficulties they faced, Bobbitt was pleased at least that he could rely on the camera equipment: “I don’t see how we could have done it without the 235, unless we’d had more people,” he says. “The filming side was almost the easiest part of it, and that was because of the 235. The Ultra Primes and other lenses were also fine; every thing survived quite happily, which is amazing considering we walked through one of the harshest environments on the planet.” So, safely ensconced back in the more com fortable world of features and dramas, and with fully healed feet, would he ever consider such a challenging expe-dition again? “Oh yeah,” he says. “At the drop of a hat.”

Mark Hope-Jones and Marc Shipman-Mueller

2 7C a m e r a

Since he started his career as a skydiving camera flyer in 1995, Greg Gasson has absolved more than 5,500 jumps and has won multiple US and World Championships in freestyle skydiving as well as Best Ca m e raflyer Award 2003 – 2006. He and his com pany Skydiving Stunts produce and shoot aerial action sequences for feature films, commercials and television. In 2001 Greg purchased his first modified ARRI IIC. In 2004 he saw the ARRIFLEX 235 for the first time and it was love at first sight. He con siders the 235 the only modern pin- registered 35 mm camera on the market that is small and light enough for filming in the most extreme situations.

In 2007, ARRI teamed with Greg on a pro- ject to show off the versatility of the 235. With a crew of 5 to 7, Greg and the “ARRI Action Hero” Omar Alhegelan, a 10-time world champion skydiver himself, started the project climbing a cliff overlooking Tucson, Arizona. “The beauty of the 235 is it‘s so compact and lightweight that I was able to secure the camera to my climbing harness bet -ween shots while I was moving to the next shot and then easily grab the camera,” said Greg, dusty and exhausted after the shoot.

On a wobbling boat, with limited space to work, the 235 proved its worth again for the water skiing sequence. “For better bal-ance I mounted the camera with the Ultra

Adventures 235WIT

H T H E

Prime 8R lens to my skydiving helmet. We even choreographed a shot where I handed a bottle of water to Omar, who was water skiing”, explained Greg.

“When ARRI gave the green light for the project I immediately contacted Hector Ortega to build the underwater housing”, said Greg, who has worked with Mr. Ortega since he bought his first camera. Greg asked underwater DoP Chuck Davis if he would be interested in filming with the 235 under-water. Mr. Davis, who had filmed on numer- ous occasions with the Cousteaus, was enthus iastic. In only 2 days of filming he was able to capture the beauty of the kelp forests and underwater marine life beneath Catalina Island. Despite losing the boat anchor, the air compressor and the boat generator, Greg and his team adapted to the difficulties often encountered when filming on or under water. The 235, however, remained trouble-free throughout the entire project.

Skydiving with 6 kilos of camera gear on one's head requires great skill. Greg uses a custom-made carbon fiber helmet with a special neck brace. When the parachute opens at about 235 km / h, he holds onto the helmet with both hands to stabilize the rig. Since the sudden jerk can be danger-ous with the extra weight of the camera equipment, Greg uses a special parachute designed to open slower and smoother

than regular ones. A typical jump starts at about 13,000 feet, and the parachute is opened at about 3,000 feet, re-sulting in about 60

seconds of free fall. Proper framing is achieved through a special sports finder and years of experi-ence, while camera moves are a matter of smooth flying. Greg explains that “you have to learn slow, fluid movements and you have to be totally relaxed while flying. Flying, framing and following an object in the air has to be automatic.” Omar Alhegelan, Cheri Johnson and Craig Amrine performed spectacular acrobatics while Joe Jennings, another world champion skydiver and cine-matographer, filmed Greg who was filming and flying with the 235.

Greg was so pleased with the 235 that after completion of the project he ordered a 235, magazines and accessories. Two weeks after it arrived he shot the skydiving sequences on the new Jennifer Aniston movie MANAGEMENT. The stunt coordinator was Chris Burket, who filmed most of the second camera shots for the Adventures with the 235 project.

We would like to express our thanks to all at ARRI who enthusiastically supported this pro- ject, to Kodak, who provided film stock, to Hector Ortega (info@slcine.com) for the under -water housing and to Omar Alhegelan and all crew members behind the scenes.

Anouschka Fiedler anouschka@skyartists.com & Greg Gasson greg@skydivingstunts.com

A breathtaking showcase for the 235 was shot by extreme cinematographer Greg Gasson while rock climbing, water skiing, scuba diving and skydiving. The final result can be viewed at www.arri.com/235.

Greg Gasson (middle) readying the ARRIFLEX 235 for a scuba dive

2 8 C a m e r a

WI T

H T H E

DoP Roberto Schaefer is currently working on the new

James Bond production named QUANTUM OF SOLACE

F.r.t.l.: Terry Bamber (Production Manager Second Unit), Jeremy Johns (Productions Supervisor),

Renos Louka and Prof. Dr. Dejan Ilic

QUANTUM OF SOLACE

DoP Roberto Schaefer says

“The whole ARRI team did a great job during the preparation period, and also prior to the pre-shoot in Italy, which used a combination of analog and digital camera equipment from ARRI. I always had a good working relationship with ARRI and they have been very supportive in helping us to make our decision. I would like to thank the whole ARRI team, and I look forward to meet with Mr. Ilic again, when we are filming in Bregenz.”

ARRI is proud to service the latest James Bond, currently produced in the Pinewood Studios and on location around the world.

ARRI CEO Dejan Ilic pays a visit to the current production of the 22nd Bond QUANTUM OF SOLACE:

“I was fortunate to be granted the permission to visit the set of the 22nd BOND at Pinewood Studios. It is very impressive to see the huge 007-stage which was rebuilt only a year ago, and I am proud to have met with some of the crew. They gave me the feeling of a very good collaboration between BOND and ARRI. Here, they recognize the importance of the high technological standard of ARRI‘s analog and digital equipment even more.”

2 9C a m e r a

THE KITE RUNNER is a DreamWorks, SKG production and marks the ninth collaboration for director Marc Forster and Roberto Schaefer, ASC dating back to THE LOUNGERS in 1995.

“Marc asked me to read the script while we were completing postproduction of STRANGER THAN FICTION,” Schaefer says. “I cried while I was reading it. It struck me as a deeply emotional and sad story that is at the root of a lot of problems in the world today. It is a very personal drama about being true to yourself and to your friends along with classic themes of revenge and betrayal.”

Schaefer explains that kite flying is a com -petitive sport in Afghanistan. The goal is to send your opponent’s kites crashing to the ground. The working-class boys who race after and salvage them are called kite run-ners. Amir was a kite flyer. Hassan was a kite runner.

“They were thinking about Morocco, China and Turkey as possible locations for filming scenes set in Afghanistan, where most of the picture takes place,” Schaefer says.

“After Marc and the producers decided on China, I spoke with our producer (E. Bennett Walsh), Herb Ault (grip) and Ian Kincaid (gaffer) who worked on KILL BILL in China.”

It was obvious to Forster and Schaefer that the scope of the story called for a wide-screen 2.4 : 1 aspect ratio. The cinematogra-pher made a three-day trip to the Vantage facility in Weiden, Germany, before a deci-sion was made about whether to produce THE KITE RUNNER in anamorphic or Super 35 format. He shot tests comparing the new Hawk anamorphic and spherical lenses in Super 35 format. Schaefer says that he “fell in love” with the new lenses, but decided they were too slow and big for some interior locations they planned to use in China.

THE KITE RUNNER spans some 30 years of the modern history of Afghanistan beginning during the early 1970s. The

film is an adaptation of a novel written by Khaled Hosseini. The story revolves around Amir, who was born and raised

in Kabul, where his father was a powerful man. Amir migrated to San Francisco during the Russian invasion and before

the subsequent rise of the Taliban. He returns to Afghanistan to help the son of his boyhood friend, Hassan.

We had the chance to talk to Roberto Schaefer, who is currently working on the new James Bond film.

Rober to Schaefer Focuses On

THE K I T E RUNNER

Actor Ahmed Khan Mahmoodzada and Zekiria Ebrahimi in a scene from The Kite Runner, shot by

DoP Roberto Schaefer, ASC

Amir as an adult with Hassan’s son in the US

Director Marc Forster

C a m e r a3 0

An early commitment was made to digital intermediate (DI) timing, because some 460 visual effects shots were planned. That meant they would be scanning and convert-ing considerable amounts of the live-action negative to digital files for compositing with background plates and computer-generated images (CGI). He and Forster had an estab- lished collaborative relationship with visual effects designer Kevin Tod Haug on various other projects.

“We had about 10 weeks in preproduction from mid-July until late September in 2006,” Schaefer says. “We did tech scouts every place we planned to shoot in the San Fran-cisco Bay area and at the various locations in China, including Kashgar, which looks remarkably like Kabul, where a big part of the story is set.”

They rented cameras and lenses from the new ARRI facility in Australia. Schaefer’s camera package included ARRICAM Studio and Lite bodies and an ARRIFLEX 235 along with a range of Master Primes, a Hawk 150 – 450 mm, an ARRI /Zeiss 15.5 – 45 mm and Angenieux Optimo 24 – 290 mm and 17 – 80 mm zoom lenses.

They worked on two sets on stages at Beijing Film Studios for two weeks, a bar, and the interior of the lead character’s house. Other

scenes in China were filmed in Kashgar and Tashkurgan, which doubled for parts of Kabul during the 1970s and early 2000s. Kashgar is in a desert area that gets very hot and dry with wind and dust storms in summer, and very cold and dry in winter. Tashkurgan is in a mountainous area at about 10,000 feet altitude.

Schaefer generally covered dramatic scenes with a single camera. He used two and some- times three cameras to film larger sequences with groups of children and big exteriors, sometimes with 1,000 or more extras, who had rehearsed with the Chinese AD.

A nuanced visual grammar is artfully woven into the fabric of the story. Schaefer explains that the crane movement was a little more dramatic with more tracking shots on a Steadi- cam or dolly in scenes set in Afghanistan during the early 1970s. Camera movement is more truncated, including some handheld shots, later in the story without it being obvious.

Schaefer says that knowing that there was a commitment to DI timing influenced his think- ing in some situations. He cites an example, “We were shooting scenes in Kashgar in October and November when there was no direct sunlight. We wanted the softer look of winter light, but the Earth was rotating and the angles and intensity of sunlight were

changing. Most of those times, I could use cloth to flag direct sunlight and soften it, but there were times and places I couldn’t do that, when I said, ‘Keep shooting, I’ll clean it up in the DI.’”

Depending on the scene, Schaefer recorded images on either KODAK VISION2 100T 5212, 200T 5217 and 500T 5218 color neg- a tive film. The negative in China was pro-cessed by Cinelabs Beijing, a joint venture between Kodak and the Beijing Film and Video Laboratory, a wholly owned sub si di- ary of China Film Group. The lab also pro-vided film dailies for the first two to three weeks of production in China. There was an ARRI LOCPRO film projector set up in a hotel room in Kashgar for about a month. They used the projector to review the tests that Schaefer had shot in Germany, in addi -tion to several weeks of film dailies.

“The dailies really helped because it allowed us to see film images projected on a big screen within as little as three days after we shot those scenes,” Schaefer says. “The lab did beautiful work. We had crystal clear images. It was wonderful watching film dailies together. It’s a richer look that gave everyone a good feeling about what we were doing together.”

Bob Fisher

Schaefer framing THE KITE RUNNER

Director Marc Forster instructing his actors

PHO

TOS

BY P

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20

07 D

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A scene from THE KITE RUNNER,

31C a m e r a

THE MUMMY 3Universal Pictures’ THE MUMMY: TOMB OF THE DRAGON EMPEROR will be unleashed in theaters this summer

for blockbuster audiences. This third installment to the popular MUMMY series brings back Brendan Fraser as

Rick O’Connell on yet another new adventure as his family unearths the mummy of the first Emperor of Qin (played

by Jet Li). As Cinematographer Simon Duggan explains, “… The emperor is awakened and all hell breaks loose.

The O'Connell family (Fraser, Maria Bello, Luke Ford and John Hannah) is called out on another mission!”

Under the leadership of director Rob Cohen (xXx, STEALTH), the crew globe trotted from Montreal

to remote regions in China for the blockbuster shoot. Duggan, who is no stranger

to capturing big budget action films like I ROBOT, UNDERWORLD EVOLUTION,

and recently, DIE HARD 4, shot the epic adventure film using ARRICAMs, a 235

and a 435 in Super 35. In the following interview, the Australian cinematographer

details the rigorous shooting conditions and dynamic camera work he used for the

post-WWII period action film.

3 2 C a m e r a

DP Simon Duggan checks light levels on the clay warrior set

The large scale of the shoot spanned locations in Canada and China

Director Rob Cohen sets up the shot

?: What was it about this Mummy script that drew you towards it? What interested you as a DP and what did you want to accomplish?Simon Duggan: One of the main aspects that really attracted me to the film was its visual scale and diversity. It‘s a fast-moving film that travels through many locations. By the time I was brought on to the project, Director Rob Cohen and Production Designer Nigel Phelps had gathered a huge amount of references on Ancient China and it was amazing to see the architecture, artwork and also the advanced technology of China‘s past civilizations. Nigel found some amazing references to use on our production and along with his Montreal and Chinese art department teams, he designed and con-structed several grandiose interior and exterior sets. Many of the environments we were shooting were set in palaces or cities

of 50 B.C., monasteries and caves high up in the Himalayas and exterior night snow scenes. The locations more or less dictated a very natural approach to lighting, as I wanted them to be totally believable. Fire-light and candlelight were common themes and for exteriors often mixed with a cool, alpine, nightglow.

?: How long of a prep time did you have? What kind of tests did you do during this time?S.D.: We had about 10 weeks of prep in Montreal that included a two-week scout to China. I took my Montreal keys to China so we could be prepping China during our initial Montreal shoot. Our pre-rigging crew left Montreal about six weeks earlier to pre- pare for the final leg in China. The logistics of this film were enormous, Jean Cocteau (Gaffer) and Alain Masse (Key Grip) were amazing at putting the project together

and insuring our eight-week shoot in China was thoroughly prepared while at the same time working with the demands of our shoot in Montreal. The production only had two days between the end of the Montreal shoot and first day in China. Our Montreal grip de partment trained up a nonexistent grip department in China who proved to be amaz- ing. All of the Chinese crew worked very hard and enjoyed the scale and demands of the project. Testing mainly invol ved finding various flicker control boxes and dimmer board presets for convincing firelight effects. There was also a “Pool of Eternal Life” for which we wanted a glowing, rippling pris-matic effect. We played with many different prisms and light sources but found the best effect came from 8 × Martin 2000 watt computer-controlled moving heads with inter-nal gobos to create the look we were after.

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?: What was in your camera package? You had quite a bit of harsh shooting conditions from rain, to windy, to sand and cold. The cameras were whipped around quite a bit – how did they hold up?S.D.: We planned on shooting a lot of handheld and I decided to go with two ARRICAM LTs, a 235 and a 435 shooting Super 35, 2:35:1 with a set of Cooke S4‘s and a full set of Optimo Zooms, the 24 – 290 mm, 15 – 40 mm, 17 – 80 mm and the 28-76mm. Along with A-unit camera and Steadicam operator Francois Archam-baul, we often had an additional three camera crews shooting simultaneously to get the coverage for many of the intense action scenes.

In Montreal, our ARRI package was put to-gether by the camera rental team of Michel Trudel Studios. Because of camera prep, freight and customs times required to get our equipment into China; we had to go with another supplier for the China leg. Fritz Heinzle at Otto Nemenz put together a great package and had just upgraded the ARRICAM LTs to run at 48 frames and the 235 to 75 fps. Besides a few minor inter-mittent scratches while we were shooting in heavy sandstorms in China, we had no

problems with the equipment. We had no camera tech with us and the cameras only needed a good clean out at the end of each day. Our camera teams were meticulous with the equipment.

?: There is a big snow scene that was created by using tons of salt. Was it tricky to light these scenes?S.D.: In Montreal, there were a few exterior sets of snow-covered landscapes and monas- teries set high in the Himalayan Mountains. We were shooting on vacant land at the Michel Trudel Studios lot. The sets were so huge they almost dwarfed the studio complex.

It was found that Epsom salt gave the most believable snow cover while detergentbased snowflakes gave us the atmospheric look we were after. It was a very corrosive and moist environment; the visual effects department was having a lot of casualties with their com-puter equipment and still cameras. We were lucky with the ARRIs and just made sure they were serviced at the end of each week’s shoot.

I felt the most realistic look for these moun-tain scenes was to go for a cool grade to accentuate the extreme conditions our cast was in. We were shooting Montreal mid-

summer, of course, and it was in the mid-30s (Celsius). Most days were beautiful and sunlit. The production could not afford the cost of building a permanent diffusion cover over the sets so we had to fly several 40' × 40' grid cloth frames over the sets using cranes. It was a tough job for the grip team but it worked and we achieved the look we were after. We maintained a subtle backlight using banks of remote con-trolled 18k HMI Pars. The cast was dressed in sub-freezing jackets and to prevent them from passing out [from heat] they had to wear icepacks under their wardrobe.

?: In Shanghai, you shot a big car chase. Can you talk about the use of camera movement for this scene?S.D.: The Shanghai Studios backlot streets were dressed for Shanghai Chinese New Year celebrations. It looked amazing and gave us huge stretches of roadway to shoot our car chase scene. The O‘Connells com-mandeer a 1946 fireworks truck and end up chasing a 50 B.C. chariot, crashing through street celebrations and functions. Rob and I had used the Ultimate Arm (remotely controlled crane arm and head attached to the roof of a Mercedes ML55) on previous productions and we decided to

Evelyn (Maria Bello) and Rick O’Connell (Brendan Fraser) embark on another adventure

Duggan oversees the multi-national camera crew

The cameras had no problems dealing with the combination of Epson salt and detergent flakes that were used to create snow

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The Ultimate Arm was employed during the Shanghai car chase sequence

demanding technically and logistically with many exterior night scenes covering hun-dreds of square meters. There was an army of lighting Condors and cranes with moon boxes that had to be continuously moved around streets throughout the studio com-plex and all went off with precision. It was a tough, yet very rewarding film for everyone.

An Tran

ship the whole rig, vehicle and specialized oper ators to Shanghai. It enabled really dyna mic shots not possible by other means. We did a shot commencing with a tight closeup of our actor then pulled back and circled the speeding vehicle she was driv-ing in a matter of seconds.

?: On the director’s blog (www.robcohen-themummy.com) there is a video called

“Dueling Camera Cranes” where you can see a big shoot-out. What were you trying to do with the two cranes?S.D.: Two telescoping cranes, a Techno-crane and an Egripment crane were used to obtain the to and fro movement between the O'Connells and the attacking army at a monastery high in the Himalayan Moun-tains. We achieved an almost out-of-control play between the two forces firing across a ravine at each other with rapid telescoping moves.

?: Who would you like to acknowledge on the crew?S.D.: Our action unit was directed by Vic

Armstrong with DP Jonathon Taylor, they did a great job with complex stunts and wirework, creating a seamless match to our main unit sequences. The action unit also traveled to China a few weeks earlier and helped to pave the way for first unit’s arriv-al to the battlefield sequences and Shanghai street scenes.

?: How was the overall experience?S.D.: I can probably speak for all the crew when I say highlight of the film was our incredible experience shooting in China. We shot a battle scene over two weeks in a very remote, desert-like location about three hours out of Beijing. Our Montreal and local Chinese crews proved how resourceful they could be and how well a production could be handled under difficult conditions especially with French, English, Mandarin and Cantonese languages being spoken. It only took a couple of days for the 1,000-plus crew and support to be working as one and this continued all the way to the last day of shooting. Our move to the Shanghai studios proved to be as

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ARRIFLEX 435s Capture a Visual COLLISIONPit a grizzly bear against a sumo wrestler, a gymnast opposite a Viking or a leopard versus a roller skater. Throw them all together with CG animation to create an operatic explosion and you have the latest multimedia installation for Microsoft’s Xbox 360. Located in the American Airlines terminal of JFK airport in New York City, the gigantic horizontal display is comprised of 40 connected 70-inch digital screens that run in a 15-minute loop. Each character runs towards the other across the multiple screens, meeting in the center for a blast of whimsical graphics. Directed by Rob Feng and Jens Gehlhaar of Brand New School, COLLIS ION was shot by Director of Photography Pasquale R. Notaro, III using three ARRIFLEX 435s. The directing team had previously lensed Microsoft presentations for the airport terminal, but this was the first in the series to be shot on film instead of high definition video.

“ARRI cameras are by far one of the most useful tools for commercial work. I do a lot of greenscreen/bluescreen work so I’m a huge fan of the ARRIFLEX 435 – by far my favorite camera to shoot any kind of visual effects. With the four-pin camera registra-tion, you can’t go wrong. I think with any other camera, we would have had a lot of problems, because we were starting and stopping them so frequently. To avoid mul-lions and be able to stitch each camera frame together, we had to figure out what the best lens was; distances between cam-eras; heights of cameras; figure out the lens distortion.”

Three cameras captured the action going across the stage from left to right and vice versa. The trio of 435s required synchro-nized master/slave movements. Explains the DP who is represented by Paradigm,

“We needed the cameras to all start together and cut together at the same time so as not to waste film. Working with animals in addi-

tion to a tight budget, I could maxmize the workflow to make everything cost-effective. It worked perfectly with no issues. All the shutters – everything – synced up so that each frame on each camera was being re-corded at the same time. Otherwise, if you stitched everything together it wouldn’t work right, especially when you go into the visual effects environment.”

The finished product takes the collection of characters out of the greenscreen environ-ment and places them in a white living room tastefully decorated with wallpaper and a sleek couch. In one sequence, a gymnast tumbles along the floor until crashing into a Viking. In another, a sumo wrestler meets his match in a grizzly bear. COLLISION plays out to the soundtrack of “The Flower Duet” from the opera Les Delibes and has mesmer-ized travelers from around the world as they make their way through the terminal.

An Tran

“We needed the latitude of film that HD still doesn't quite have. We also needed to over crank and existing high speed HD solutions just aren't clean enough of a pic-ture yet for pulling keys. Film was the only option,” explains Feng.

“This spot could not have been done HD just because of the frame rate. I’m glad that we did it on film, because there’s so much visual effects added to it, that with the actual people and animals, it just adds a bit more organic-ness and looks a bit more real,” adds Notaro.

After careful research and previsualization overseen by VFX Supervisor Scott Metzger, the one-day shoot took place on a stage at Universal Studios. With cameras running at 72 frames per second, each character moved across the stage before a green-screen located 90 feet behind the subject. To avoid motion blur, the cameras operated with 120-degree shutters. Says Notaro,

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F.l.t.r. Dennis Lüthi, Magdalena Hutter, Camille Boudin

A 65 mm camera workshop by Prof. Peter C. Slansky held at the Bernina Pass

Above: Prof. Peter C. Slansky checking the finder. Below: Magdalena Hutter

Prof. Peter C. Slansky (left) and Robert Kandleinsberger (right)

in Time-LapseThe Wonders of Nature

Cambrena, Palü, Agüzzo, Zupo, Bellavista, Bernina. Instinctively, this scenery takes your breath away. The little group is feverishly yearning for the first shots. After the usual preparations (“Which f-stop did you calcu-late?”) they use a UV filter and a polarizer to time-lapse a beautiful mountain-shaped cloud for six minutes with 1 fps. Below, the ice melts and cracks; a boulder thunders down the slope.

Change of scenery. The continuation with different students and under different weather conditions gives the movie a different direc-tion. Bad weather is good weather and rain and fog are part of the scenery. Snow has fallen during the night and the surrounding chain of mountains looks like it has been topped with sugar icing. Now, the 765 is placed on the ground and the group hunkers down around it. The craggy actors, the cliffy moun-tains, look completely different – painted in summer green at the bottom, with a snowy top. “Water and mountains – add the time (or the time-lapse to be precise) and we can move freely through the dimensions! This is a revelation of the landscape by means of the camera”, Slansky proclaims enthusiastically.

THE AIR OVER BERNINA is the first, 4½ minute long part of ELEMENTS, a film about the four

For a few days, the ARRIFLEX 765 was the focal point of interest for seven students from film academies in Munich and Zurich. The four-day workshop “Great Land scapes” was announced by Professor Peter Slansky from the University of Television and Film in Munich. Professor Marille Hahne from the University of Design in Zurich played a vital supporting role. The technical backup came from Robert Kandleinsberger and the R&D department at ARRI. The participants were curious, eager and a bit skeptical: “What is this going to be?” “Let’s see if the dimensions and magnificence of the land-scape will really become visible in the film.” “Can one transform the dramatic art of the scenery into film – will this then move the audience?” “Take the weather as a chal-lenge, don’t make a glossy wall calendar out of it. Try to picture all the nuances.”

“Will the landscape serve as a protagonist...?”

The scenery of the Bernina Pass is made up of stones, boulders and naked rock, of gla-ciers melting in grungy puddles with a bit of snow here and there and of emerald green and milky white mountain lakes. Beautiful like a lunar landscape. The first gondola takes us up to the Diavolezza. All the peaks you see are at least 4.000 meters high (approx. 12.600 ft.), packed in eternal ice:

elements air, water, earth and fire, shot on 65 mm/4k. The remaining three parts will be photographed in the coming three years within the scope of further camera workshops by Prof. Slansky. ELEMENTS is to be post-produced entirely in 4k by ARRI Digital.

Dodo Lazarowicz

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HERE AND THEREDP Mathias Schoeningh on filming with ARRI’s Professional Camera Accessories

Last fall, German DP Mathias Schoeningh (THE HOUSE IS BURNING) shot the independent feature film HERE AND THERE in New York City for Writer / Director Darko Lungolov.

The movie follows a broke, cynical American named Robert (David Thornton), who travels to Belgrade to make a quick buck by marrying a Serbian woman for legal US immigration status. The film also stars Mirjana Karanovic, Cyndi Lauper and

Branislav Trifunovic. Schoeningh and the crew were tasked with lighting limitations and shooting in real locations. Here, the lensman writes about his experience on the transatlantic shoot and how he put to the test Master Primes and ARRI Professional Camera Accessories.

I liked the script from Director Darko Lungolov and especially his ideas on the visual reali -zation of the film. He was aiming for a rough documentary style, yet feature-like look. The actors were supposed to move freely with-out positioning marks and the camera was to constantly follow them. We shot almost exclusively handheld and in order to turn 360 degrees, we kept the location free of tripods and any production equipment. This was quite a challenge.

We shot DVCPROHD using an AJ-HDX9000 in conjunction with the Pro35 from P & S Technik, a set of Master Prime lenses and the ARRI Professional Camera Accessories. We had to shoot in mostly tight settings in typically small New York apartments, some car mount sequences and also handheld in the car. The Pro35 adapter enabled me, despite fixed focal length lenses, to create separation and depth within the tightest spaces. In addition, I like the rough look the rotating groundglass creates to offset the sharp, static video image. Before we started the production, we tested the effects of the various speeds of the rotating ground - glass and found out that a slower rotation gave us a better look when shooting close-ups. By using the adapter I lost two stops, which I could easily compensate with the speed of the Master Primes. That was a big plus. The image quality of the Master Primes at full aperture is just amazing. Most of the time we shot wide open, which, of course, made our focus puller’s (Jack Lam) job harder, especially since we worked without focus marks and a lot of improvisation from either the actors or cameras.

Jack was very happy with how the Profes-sional Camera Accessories and Master Primes fit together. All lenses have the same physical size and you just swing the matte-box open and exchange the lens. No further alignments were necessary since the front diameter and focus ring always remained the same. The one thing that I consider really out -standing on the Master Primes was that they don’t breathe at all. At first, I was afraid the MPs would be too sharp for the video, but in combination with the Pro35, we achieved a truly great look. In past video productions using the Pro35, I always insis ted on older style lenses for that reason. This was obvious ly a wrong decision. The Professional Camera Accessories are super compact and very easy to use which speeds things up tremendously. Filters in all different sizes fit right into one and the same tray.

The tight shooting spaces in New York were a challenge in all aspects. As I said before, we very often shot 360 degrees and since we were not allowed to use wall spreaders in the old buildings, the only chance for lighting was to light from outside. We worked a lot with practicals, which would appear in the frame. The Master Primes were very accommodating in this regard, because they have no glare. During a short break we made some experiments shining various lights straight into the lens and interestingly enough, not much happened, even the con-trast stayed the same. Anyhow, it drove me nuts setting the lights in these tiny rooms to accommodate 360-degree camera moves.

To see a trailer and learn more about the film, go to www.hereandtherethemovie.com.

Mathias Schoeningh

The Professional Camera Accessories on the various sets of HERE AND THERE

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HERE AND THERECompatible with all new generation ARRI-FLEX and ARRICAM cameras, the WRC-2 combines the functions of previous units such as the RCU-1 and WRC-1 with a number of entirely new features. The WRC-2’s range of functions automatically adapts to the camera it is being used with. The touchscreen user interface makes remote-controlling faster and easier than ever before. Since its function-ality is software-based and therefore expand- able, the WRC-2 is the most versatile remote control unit ARRI has ever built.

The main menu offers three different operation modes:

• Camera Control permits adjustments to the speed and shutter angle of the camera,

• External Display emulates the display on the side of pre-ARRICAM new generation cameras

• Ramp Mode facilitates compensation for in-shot changes of speed, shutter or iris

Uniquely, the WRC-2 automatically calcu-lates the correct exposure value for given ramps based on light measurements made by the DoP on set. All of the ramp data can be entered with the help of the Ramp Control Menu, guiding the user through the some-times complex process of programming a ramp. This makes the WRC-2 a very power-ful tool for providing unprecedented levels of exposure safety and precision while saving time on set.

The WRC-2 works with the ARRI Wireless Remote System (WRS) and attaches to the Wireless Main Units WMU-2 and WMU-3, which act as transmitters. It can also be

Introducing the New Wireless Remote Control

Sporting an easy-to-use touchscreen user interface, the recently developed WRC-2 extends and simplifies wireless camera control options.

wired to an ARRIFLEX or ARRICAM camera either directly or via a Wireless Handgrip Attachment WHA-2 or WHA-3 using a standard LCS cable.

The WRC-2 can automatically make expo-sure compensations for speed, iris and shutter ramps. In order to compensate for speed or shutter ramps with the iris, a CLM-1 or CLM-2 motor attached to the camera and the mounted lens selected in the Lens Manager. This is done automatically when using LDS lenses (Master Primes or LDS Ultra Primes), while for other lenses an Iris Table can easily be programmed and then stored in the WRC-2 internal memory.

Being software-based, the WRC-2 can be continually upgraded. Newly released soft-ware updates and modules can be uploaded simply by connecting a USB memory stick to the WRC-2 mini-USB port, so there is no need to carry a laptop to the set.

WRC-2 Compatibility

Camera Item (Accessory) Software Packet CompatibilityARRICAM Studio, Lite Packet 04C or later YES435 Xtreme Packet 03C or later YES435 Adv. + FEM-2 Packet 03C or later YES, FEM-2 necessary435 ES + FEM-1 Any YES, FEM-1 necessary235 Any YES535A Any Not supported (use RCU-1 / WRC-1)535B Any YES416 Standard, Plus or Plus HS Packet 02D or later YES16SR3 Standard or HS Any YESUMC-3 Packet 02C or later YESD-20 + FEM-2 Available shortly YES, FEM-2 necessary

WRC-2

In addition, there is downloadable WRC-2 simulator software on the ARRI website, which allows users to become familiar with the interface before even setting hands on the unit (www.arri.com/wrc-2).

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More specifically than in Part One, we are not just looking at the general percep-tion but at the limitations of our own visual systems in viewing large images on a screen. It is exactly this limitation that shows us how much effort one should put into the digitization of detail.

A common rumor still circulates, alleging that one could simply forget about all the effort of 4k, because nobody can see it on the screen anyway. Let’s take a closer look if this is really true!

basic parametersIn the first parts we established three simple rules to describe what is important for a nat-ural and sharp looking image. They are listed here in a descending order of importance:1. Image information is not compromised

with alias artifacts2. Low spatial frequencies exhibit

high modulation3. High spatial frequencies are still visible

Visual Perception Limitations for Large Screens

This last part of our 4k+ series comes back to the most important step in the production chain – the human eye. Again we are focusing on resolution, sharpness and aliasing.

4K+, Part III

This means implicitly that an alias-affected image is much more annoying than one with natural resolution.

However, to conclude that one could gener-ate a naturally sharp image by using low resolution and just pushing it with a filter, would be completely wrong. Alias-free im-ages and high sharpness can only be achieved, if oversampling and the right fil-ters for downscaling to the final format are used.

Resolution of the human eyeThe fovea of the human eye (the part of the retina that is responsible for our sharp central vision) includes about 140,000

“sensor-cells” per square millimeter. Two objects pro jected with a separating dis-tance of more than 4 microns on the fovea of a human with a normal visual acuity (20 / 20) can still be resolved. On the object side this corresponds to 0.2 mm in a dis-tance of 1 m (or 1 minute of arc).

In practice, this of course depends upon the following:

• The viewer is concentrating only on the centre of the viewing field

• The object is only moving very slowly or not at all

• The object shows a good contrast to the background

As in the previous parts of this series, we will not use the actual resolution limit for the further discussion, but rather the detail size that can be clearly seen. Allowing for some amount of tolerance, this would be around 0.3 mm at 1 m distance (= 1.03 minutes of arc).

A linear relation between the distance and the detail size can be assumed within a certain range:

0.3 mm in 1 m distance corresponds to 3 mm in 10 m distance

This hypothesis can easily be proved. Pin the test pattern displayed to the left on a well-lit wall and walk 10 m away. You should be able to clearly differentiate between the lines and gaps in the figure labeled 3 mm. For the figure labeled 2  mm you should barely see a difference.

Fig. 2: 2 mm

6k for 35 mm 3k for 16 mm

Fig. 1: 3 mm

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Summary Part IIIThe rumor that 4k resolution cannot be perceived is not true! Quite to the con-trary: a large portion of the audience could very well see a 4k resolution of the projector. At the same time, the higher resolution inevitably raises the modulation of lower spatial frequencies, which in turn benefits everyone in the theatre.

ConclusionA scientific approach and a clear view of the real parameters is in the author's opinion far more appropriate and helpful than merely counting megapixels and rehashing marketing hype. It must be said, however, that this series has mainly dealt with the static image quality factors sharpness and resolution. As already mentioned, there are many more parameters to be considered. I would also recommend my colleague's booklet “The ARRI DI Companion” by Harald Brendel. An article about the dynamic view on spatial quality parameters is in preparation.

Of course this requires an ideal visual acuity of 20 / 20 (US). Nevertheless, if you can’t resolve the pattern in fig. 3 mm you might consider paying a visit to an ophthalmologist!

Large screen projectionThis experiment can be transposed for the conditions in a theatre. Displayed in Fig. 4 is an outline of a cinema with approximately 400 seats and a screen width of 12 m (40 ft). The centre row of the audience is at 10 m (33 ft) distance. An observer in this row would look at the screen with a viewing angle of 60°.

Assuming that the projection in this theatre is digital, the observer could easily differen-tiate 12,000 mm / 3 mm = 4000 Pixel.

The resolution limit is not surpassed for dis-tances closer than 14 m (46 ft). In other words in conditions like this, more than 50 % of the audience would see image detail up to the highest spatial frequency of a 4k projector.

In large theatres you can find screens with a width of 25 m (82 ft) and more. Fig. 3 shows how many pixels per image width one would need if the resolution limit of the eye is seen as the critical parameter for di-mensioning a digital projection.Dr. Hans Kiening

Fig. 3

Fig. 4

viewerα = 1.03 arc minutes

(not true to scale)

α

viewing distance: 10,000 mm (33 ft)

20,000 mm (66 ft)

scre

en w

idth

: 12,

00

0 m

m (4

0ft)

d = 3 mm

3K 4K 8K34 m(112 ft) 20 m(66 ft) 12.5 m(41 ft)

viewingangle 60° 90°

25m(82ft)

830seats

41D i g i t a l I n t e r m e d i a t e S y s t e m s

Phot

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Works came up, which was shortened to EFILM. We dropped the electron beam pro ject when laser film recording appeared.

?: When did the company start offering DI services?bF: We waited to get involved in DI until 2002, the year before Deluxe acquired 100 % ownership of EFILM. Although we had anticipated DI in the 1990s as the future of feature film postproduction, we wanted to wait until we had all the elements together: the scanner and recor der, the color management, and the software. We wanted technology that could produce the same quality as the optical chain. That’s the main reason we never tried to do HD-based DI.

?: What was the first feature film digitally color corrected at EFILM?

Deluxe/EFILM ON THE MOVEEFILM, a subsidiary of Deluxe

Laboratories, is a leading provider of digital lab services including digital intermediates (DI), digital cinema and mastering, 2k and 4k ARRISCAN scanning, ARRILASER film recording and color manage-ment. With DI postproduction rapidly becoming the standard for high-end motion picture production, Deluxe is both expanding and unifying its digital services around the world. Reflecting this drive towards an internationally consis-tent identity, ARRI News spoke with Deluxe represen tatives in Holly-wood and Lon don in order to find out what services the company offers its worldwide cus to mers at present, and what goals are being set for the future.

B i l l   Fe i g htn e r… is the Senior Exe c utive Vice President of Tech- nology at EFILM in Hollywood.

?: How long have you been with EFILM, and how

has the company developed?bill Feightner: I started at CIS in 1990; we were doing special effects for features and used a modified telecine as a scanner that could produce HD resolution by scanning four tiles. We developed this system our-selves and used it in combination with a CRT film recorder and in-house software. Later we experimented with electron beam film recorders; that’s when the name Electron Film

4 2 D i g i t a l I n t e r m e d i a t e S y s t e m s

they want to have something they can pull out in say 20 years and it will still be regarded as good quality. Second, the creative people want 4k because it just looks better.

?: As well as 14 ARRILASERs, you have 8 ARRISCANs. What do you do with them all?bF: We want to start a new service, called digital dailies, for which we need higher scanning capacities. Obviously we can also use the scanners to handle peak loads during DI productions. The idea is to have the same image source and the same color corrector for dailies and DI. With digital dailies, the DI starts at the dailies; there is no separate HD look. That’s why it makes sense to only offer digital dailies when the DI is also being done at EFILM. The quality of the dailies and of the final scans depends on the demands of the production. For example, the dailies might be single flash 2k scans and selected shots then replaced by 4k scans. Since all scans come from the ARRI SCAN they match in color and geometry.

?: Deluxe wants to expand its worldwide DI business. What are your next steps?bF: We want to have a network of EFILMs around the world. From a client’s point of view it should not matter where he goes because he sees the same image in the same qual ity everywhere. We want to offer a seamless transition from one EFILM site to an other, so you could start color correction in Australia, move on to London, and finish it in LA.

bF: WE WERE SOLDIERS, a movie starring Mel Gibson. The DoP was Dean Semler; it was his first DI. The production was plan-ning to do an optical finish at the same time because no-one trusted DI, it was too new. We had our color correction calibrated to Deluxe printer lights and Dean came in to call printer points correction. Time after time he discovered he could do more things, like changing the contrast or using a window to do a partial correction. As far as I know, he has not done a traditional finish of a movie since then.

?: Why do you think EFILM has become so successful with DI?bF: Quality is top of the list and we make no compromises here. Our quality matches that of the optical process, which was what we aimed for from the beginning. The next point is good customer service; for example we like to work with clients in developing new looks. It is also important that we have the facilities and resources to handle several large productions at the same time. Last year we handled two 4k resolution productions simultaneously; both required multiple nega-tives as they wanted only first generation prints. These are the situations when we really need all of our 14 ARRILASER recorders, and we are keen to see the speed upgrade as well.

?: Do you see demand for 4k growing?bF: Since 2005, when we did our first 4k DI, there have been 17 4k productions out of a total of 174 DIs done at EFILM. I expect a lot of growth in this area for several reasons. First, the studios want to have 4k for archi v ing;

J o h n B e n n ett  … is Director of Tech nology at Deluxe Digital London.

?: Deluxe operations in the UK have recently been rebran ded. Could you explain what changes have been made?John bennett: Deluxe Digital London contains four brands: Capital FX, Deluxe Digital Cinema, Deluxe DI (which will, in turn, be rebranded EFILM-London at a date to be announced) and Midnight Transfer. Capital FX made a name for itself in London as a titling company, and after becoming part of Deluxe four years ago continues to work on original front end title sequences, foreign language titles and subtitles, output-ting on film or for Digital Cinema. Deluxe Digital Cinema provides the mastering, dupli -cation and distribution of Digital Cinema Packages and keys to the international cine- ma network. Deluxe DI offers Digital Inter-mediate colour grading using a Deluxe pro-prietary digital grading system (Eworks) sit -ting between our two ARRISCANs and six ARRILASERs utilising EFILM’s colour manage-ment. Midnight Transfer offer feature film dailies/rushes via digital grading systems.

?: To what degree are you coordinated with EFILM in LA?JB: I spent four years working at EFILM out in Hollywood and then returned to London to bring back some of the technology, sys-tems and procedures to create compatibility between us and them. Here we use a lot of the same technology and the same colour management as EFILM. The long term strategy is to achieve digital equivalence between us in London and all the Deluxe facilities around the world, including EFILM in Hollywood, the new digital facility in New York, also Toronto and Sydney. We want to start putting products and services together that allow our clients to work digitally at any Deluxe facility and sync our inputs and outputs sufficiently to allow someone working in Hollywood to scan and laser film-out here, or vice versa.

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Deluxe Digital London has six ARRILASERS, more than any other facility in the UK. Such resources allow the DI department to work on big releases such as the 2007 Christmas hit THE GOLDEN COMPASS. Working at maximum ARRILASER capacity, Deluxe was able to film-out two complete copies of the 6-reel feature over the course of a single weekend. The film was recorded mainly in 2k, with the end roller at 4k, using the native academy module and ARRILASER image processing for the image squeezing required for an ana- morphic release.

Supervising Digital Colorist Peter Doyle elected to record the film-out on the new Fuji Eterna RDI stock, which he himself had helped develop: “It goes back to the days when I worked with Fuji

?: How will you achieve such international parity?JB: What allows it to happen is a good characterisation of the labs so we all know how each others’ labs are behaving. If we have that information and an understanding of the ARRILASER outputs then we can effec-tively work out how to format data so that it suits any particular lab. Then, with strong colour management using this data, we achieve colour conformity between sites.We’re all striving for the use of common tech-nology, systems and procedures. We all use the same procedures to calibrate our equip-ment and monitor the labs. Each one of us knows what our own local lab is doing. When we have the same operational systems in place, it means someone else within our group can know what each regional lab is doing and our common colour management allows them to process their output accordingly.

?: Are the ARRILASERs used in precisely the same way in London as in LA?JB: We have our individual lookup tables and processing that suit our combination of ARRILASER and local lab, but we’re working towards the same systems and tolerance levels, and that takes time. We’re really trying to use the same methodology as EFILM Holly-wood, but they use Deluxe Hollywood as

a lab, while we use Deluxe London so there is a system difference, and we’re trying to minimise that difference. We’re matching the high quality output of EFILM here in London. We do multiple calibrations for each ARRILASER, each lab and each reso-lution. It all comes down to quality of out-put; if you want the best output you’ve got to put the effort into tracking and trending the lab. There are two parts to the system – the ARRILASER and the lab, and we’re trying to put the two in the best possible combina-tion to get the highest quality and the best tolerances of output. Good communication with the lab is vital, and of course we have that at Deluxe because we’re one company.

Supervising Digital Colorist Peter Doyle

to delve into the aesthetic of stills and fashion photography; it opened up an area that worked for the film and along the way we ended up with prints displaying a greater dynamic range than we could get out of digital projectors.”

Fuji Eterna RDI and THE GOLDEN COMPASS

on modifying one of their print stocks for THE LORD OF THE RINGS,” explains Doyle. “We were building a particular look and the print stocks of the time couldn’t quite do what we wanted. Fuji was able to modify their stock successfully, and out of that came discussions about what would be ideal for a digital negative on a laser recorder.”

In particular, he wanted a stock with as much density as possible and a smooth grain structure, especially in the highlights: “First and foremost was to try and match their layers to the ARRILASER layers,” he continues, “so that we had significantly less cross-color modulation, which makes pulling off things like night scenes easier because you don’t have the problem of shifting cyans and greens. With cleaner cross-color, it is much easier to emulate the look of the stock in the DI.”

The smoother grain structure of the Eterna RDI suited the epic, storybook feel of THE GOLDEN COMPASS and facilitated images such as the delicate, light-toned close-ups of Nicole Kidman:

“In the old days the grain structure would have been a bit unflattering for images like that,” says Doyle. “But the Fuji RDI stock almost allows you

?: What DI facilities are there now at Deluxe Digital London and how do you hope to expand?JB: We have 6 ARRILASERs, 2 ARRISCANs and 2 DI grading theatres. Next year we’re going to be moving to a new building with better infrastructure and more space, so that will allow us to up the volume of our DI work. We will then be offering services such as 4k DI, CMY separations, digital dailies and an increase of Digital Cinema deliverables. There will also be a further rebranding as this development progresses that sees our DI services become EFILM London. Compa-rable and compatible services will also be offered at other international Deluxe sites.

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Left to right: Thomas 'Tom' Altenried (Senior Service Engineer DIS – ARRI Australia), Simon Alberry (I / O Supervisor – Atlab), Anthos Simon (General Manager – Efilm), Stefan Sedlmeier (General Manager – ARRI Australia), Jared Rogers (Service Engineer DIS – ARRI Australia)

Anthos Simon (General Manager – Efilm) at Atlab with new ARRISCAN and ARRILASER in lab

Atlab AustraliaAtlab Australia’s newly launched global postproduction brand Efilm raised the postproduction bar, when

they took delivery of their new ARRISCAN as a part of a multi-site global contract with ARRI and the

Efilm alliance. Efilm’s General Manager, Anthos Simon, is really satisfied with the reliability of ARRI

products and in particular local high level customer service, saying “it’s great to have Tom and Jared down the road

from us at ARRI Australia’s facility at Macquarie Park. If we ever need help, we have the peace of mind knowing that

ARRI is just a 5 minutes drive away!”

Thomas ‘Tom’ Altenried, ARRI Australia’s DIS Senior Service Engineer has worked for ARRI’s Digital Intermediate Systems (DIS) division for a number of years, recently joining the ARRI Australia team to establish the company’s DIS presence in the region. Tom’s mission has been to build up the DIS service centre in Sydney and to deliver regu-lar service maintenance to the contracted clients along with his technician, Jared Rogers, who recently joined the ARRI Australia team late last year.

Efilm’s business requirements were to offer the film market an expert level of postpro-duction film scanning and film color grad-ing services that deliver to the high end demands of the postproduction sector. The ARRISCAN was chosen for its unparallel

image quality, versatility and reliability and because of the high level of local support that ARRI provides via its subsidiary ARRI Australia. The state-of-art equipment has been rolled in countries around the world. Efilm took delivery in December 2007 at their Lane Cove branch. ARRI has around 90 (and growing) ARRISCAN units deployed globally, 4 in Australia & New Zealand in Sydney, Melbourne and Wellington.

The ARRISCAN is a leading film scanning device for 35mm and 16mm formats. Devel -oped in Germany and launched in 2004. The ARRISCAN enables digital laboratories and postproduction houses to drastically increase their productivity and experience a new standard of quality in film scanning. Due to its innovative design, the ARRISCAN

is suited for almost any scanning application including Digital Intermediate, visual effects, restoration and archival. With a scanning speed of 5 fps when scanning 2 k with double exposure, and over 8 fps with single exposure, a 16 mm option and the digital dailies pack -age, the ARRISCAN is a powerful asset for the Efilm brand. Anthos Simon isn’t the only one talking about the new equipment, “our staff are excited to have another ARRI machine on site and particularly this one for its speed and features, it’s got everyone talking”, he said. The ARRISCAN compliments the two ARRI LASER film recorders onsite. “We have been amazed when we saw the first footage printed back on film after DI”, said Olivier Fontenay, Senior Colorist at Efilm.

Rich Lock

4 5D i g i t a l I n t e r m e d i a t e S y s t e m s

HD Monitor

The ARRICUBE color management system ensures that colors seen on a digital display in the grading suite will match the colors in the film projection later on. ARRICUBE 3D LUTs can either be used for previewing loga- rithmic files correctly or for converting video data into logarithmic files prior to recording. In both cases universal LUTs are available, which give a fairly good match. However, these look-up-tables reflect all sorts of differ-ent parameters such as display type, display calibration, recorder calibration and lab results, which can change from company to company. Therefore, the best possible match can only be achieved with a company- specific 3D LUT. ARRI offers this so-called customization process as a service. For this service, the color performance of all digital displays and projectors used in the work-flow as well as the colors on the print film itself must be measured and characterized.

With the CHARACTERIZER, ARRI has devel-oped a unique and a very precise tool to measure the colors of print film. Standard devices can be used for measuring digital displays, but it has been difficult in the past to say which device will do so best. Such devices, namely colorimeters or spectropho-tometers, are either prohibitively expensive or not precise enough for the demands of postproduction professionals. Many of these tools have difficulty measuring precisely and quickly in the dark, which is a vital require-ment when working with film images. They

ARRI equips the X-Rite HUBBLE Non-Contact

Laser-Guided Colorimeter with display

specific calibrations and resells the package

to ARRICUBE customers.

are suitable for either monitors or for projec-tors, but not for both, and while some are very precise, they need to measure for a long integration time.

The HUBBLE Non-Contact Laser-Guided Colori -meter from X-Rite provides a versatile and very affordable solution. It is unique in that it can be programmed with custom calibrations, including calibrations equivalent to those of expensive reference instruments. ARRI will equip the HUBBLE with a set of calibrations tuned for DLP projectors, LCD displays, and CRT studio monitors. The results achieved by the HUBBLE with these calibrations compare very closely with more expensive, high-end measurement device references.

As the HUBBLE is very easy to use and to transport, it can be used for profiling all dis-plays involved in the grading process and for monitoring the color temperature of the film projector. With the HUBBLE, users are able to maintain their system calibration and generate high level profiles of all their dis-plays. Later this year, ARRI plans to release software tailored to the needs of postproduc-tion facilities; this software will enable clients to generate LUTs for specific displays, based on the film profiles measured by ARRI.

ARRILASER software 3.8 with ARRICUBE 3D LUT support is available from March 2008 and facilitates a proper video-to-film work-flow.

Sibylle Maier

Keep an Eye on the ARRICUBE

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following motto: Technology at the seventh art s service. We have always pushed limits using state-of-the-art tools and top professionals to reach full client satisfaction. In that regard, 2007 has been a turning point for us with 2k digital intermediates and restoration being responsible for more than 60 % of film postproduction in Brazil. Tele Image is the sole facility in Brazil with 2k capacity, and 4k will be coming soon. The ARRISCAN and ARRILASER were there-fore a natural choice for TeleImage to con-solidate even more of its leadership”, says Patrick Siaretta, CEO.

CinecolorWith offices in Chile, Argentina, Brazil, Mexi-co and Colombia, postproduction com pany Cinecolor purchased two ARRILASER HD/DIs to further improve their range of production services in Chile and Argentina. From lab work, to sound and computer-generated animation, Cinecolor Chile provides audio-visual services for television, publicity and

film projects. In Argentina, Cinecolor is the only facility with the ability to do digital in-termediates end-to-end, completely inhouse.

After scrutinizing what was offered from a variety of competitors, the company ultimately chose the ARRILASER HD/DI for placement in Chile and Argentina because of the ver-satility, quality and printing speed. The latest member of the ARRILASER family, the ARRI- LASER HD/DI has the same well-known quality and reliability that has made the ARRI - LASER the industry standard in film recording.

Since the installation, the Chilean ARRI-LASER has filmed-out two movies: CHILE PUEDE and XUXA. By harnessing the new technology and market-recognized quality of the ARRI LASER, Cinecolor Chile and Argentina expect to release several local and international films.

An Tran

Film Scanning & Recording Supervisor Ariel Wollinger (right) with Patrick Siaretta, General Director and CEO TeleImage Entertainment (left)

DI in South AmericaA R R I S C A N + A R R I L A S E RIn terms of production work, the South American market has shown strong and steady growth over the last several years, luring more and more international companies with talent, infrastructure, versatile locations and top-of-the-line technology. The Association of Independent Commercial Producers released statistics last summer reporting that South America more than doubled its percentage of foreign shoot days – from 12 % in 2004 to 28 % in 2005. It’s a trend that continues to intensify as more people become familiar with shooting in this region and homegrown filmmakers are recognized.

TeleImageTeleImage, the entertainment division of Casablanca Group, recently enhanced their Sao Paolo-based postproduc-tion house by adding an ARRISCAN and ARRI LASER HD/DI. The facility operates in digital postproduction for HD, data, 2k and 4k in Brazil and Latin America for film and television.

Led by Travis Kelly, Service Engineer – Digital Services from ARRI Burbank, training and in-stallation for the experienced team of tele- cine operators lasted 10 days. Says Sibylle Urban, Managing Director of Eurobras, “The telecine operators were totally amazed by the capacity of the laser and the scanner and how it will make their jobs a lot easier. Needless to say, at the end of the first week of training, Travis and I were glad to see that the customer was convinced that they should have purchased the equipment when they first heard of it years ago.”

With more than 200 feature films to their credit in seven years, TeleImage is the only Brazilian post house working in a completely tapeless pipeline. It is also the first Brazilian company to introduce 2k technology for fea-ture films for both Brazilian and international movies. Beyond digital intermediates, Tele-Image also offers services in mastering, restoration and sound.

“TeleImage has been a pioneer in Latin America since its creation in 1998 with the

4 7D i g i t a l I n t e r m e d i a t e S y s t e m s

L’ESPACE V IS ION

The ARRISCAN recently installed at L’Espace Vision is the fourth to arrive in Japan, though it is the first to be used in a postproduction environment entirely devoid of film deliverables. The company has been involved in non-linear editing from its earliest days and also offers non-linear color grading services on Quantel iQ / Pablo and eQ / Pablo.

“A DI workflow is the most effective one for commercials and we can finally establish such a workflow for HD commercials,” says com-pany director Mr. Suzuki. L’Espace Vision now operates its scanning, editing and color cor-recting services as

one continuous and uncom-pressed process, rather than having to spread these tasks between different tele -cine and editing rooms. The workflow con-sists of scanning at 8 frames per second in 2k resolution on the ARRISCAN, initial color correction of un-compressed data, compres-sing this data for the offline, conforming the EDL into Pablo and finalizing the uncom-pressed grade with Pablo before finishing with Flame and iQ / Pablo.

The advantage of a DI workflow, notes Mr. Suzuki, is the lack of data compression at key stages: “The conventional workflow of CM [commercial message] production in - vol ves significant compression at the tele-cine stage,” he says. “But this DI workflow allows us to end up with the best image quality possible and to read the images as they output from the scanner in 10-bit log.”

The ARRISCAN installed at L'Espace Vision

EstablishingaDIWorkflowforHDCommercials L’EspaceVisioninTokyoinstalls anARRISCANDigitalFilmScanner

Data from the ARRISCAN is conformed in the I / O (input / output) room, which utilizes an Apple Xsan with a current capacity of 28 TB, enabling data-share networked by a gigabit LAN in each editing room. This means that the initial color correction can be done by Pablo in parallel with the scan-ning, which saves time. Mr. Suzuki stresses the importance of color correction at the finishing stage: “Even though the conven-tional color correcting procedure is com-pleted during telecine, it also has to be done again at the finishing stage,” he says. “Non-linear color grading is more effective because the color correction and effects, which conventionally had to be done sepa-

rately, can now be worked at simultaneously on the same system. This facilitates high-quality productions with both initial and finishing color correction.”

This setup is very popular with clients be-cause the iQ / Pablo and eQ / Pablo suites are so intuitive to use that colorists can talk with directors and DoPs in a common lan-guage during editing and grading. Editors at L’Espace are also colorists and / or com-positors, as the processes are so integrated. The company, which specializes in commer-cials, promos, concerts and digital cinema, intentionally sources equipment from various manufacturers in order to be as flexible as possible.

“We have been considering a move beyond HD production to ‘real’ DI, with film output,” says Mr. Suzuki. “It would be interesting for a company like ours, which does not have film developing and printing facilities, to focus on DI and bring about a change in the pro-duction model of domestic commercials and motion pictures. We have been testing with the ARRISCAN since its installation, looking at differences between 2k and 4k in details such as human hair. We are pleased with the service we can offer, but will not stop researching better DI workflows.”

Mark Hope-Jones

Company director Mr. Suzuki, L’Espace Vision

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In 2000 they started a software develop-ment company, also called Colorfront, and brought to market a popular range of color manipulation and dust-busting tools for digi-tal film postproduction. The following year they created SACC (Stand–Alone Color Cor-rector) and, working closely with colorist Peter Doyle, made history when this brand new DI technology was successfully used to grade Peter Jackson’s THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING. Sub-sequently they invented Lustre, the best-selling DI system from Autodesk, and have provided professional advice to most of the top DI houses in the world.

The new Colorfront facility in Budapest makes full use of the Jaszberenyi’s pioneering exper -ience and knowledge of data-centric work-flows, offering a comprehensive range of HD, 2k and 4k postproduction services to inter-national filmmakers. It is also being launched at a time when Hungary is becoming increas-ingly popular as a base for major produc-tions due to tax incentives and the recent con struction of the extremely well-equipped $127 million Korda Studios.

“Central Europe – and Hungary in particu-lar – has an amazing filmic history with many leading directors, producers, cinema-tographers and technicians coming from

here,” comments Aron Jaszberenyi. “Open-ing a state-of-the art facility in Budapest is very much in keeping with that tradition, as well as filling a gap in the market. We have worked with leaders in DI for over a decade and know a lot about high-performance, high-resolution postproduction. With skills and competitive pricing encouraging more and more production into Hungary, we be-lieve Colorfront is perfectly placed to service the most demanding DI and VFX work.”

Colorfront’s end-to-end digital pipeline ser-vices range from film scanning and record-ing, DI grading, conforming and digital dailies to online / offline editing, VFX, cinema sound mixing, mastering and deliverables. Its initial technology line-up includes ARRISCAN, ARRILASER, 43TB SAN disk storage, Autodesk Lustre, Flame and Smoke, Avid Adrenaline HD editing, 2k cinema-quality and 35 mm film projection in a theatre equipped with THX cinema sound.

“We are perfectly equipped to support the everyday requirements of productions shooting here in Hungary with a digital dailies service and a digital projection theatre,” says Mark Jaszberenyi. “But we have a lot more firepower than that and will offer our services globally. Colorfront is optimized for fast and efficient high-reso-

lution post on a par with any other facility in the world; we are more than capable of handling the biggest DI and VFX projects and all of their deliverables.”Harald Brendel / Mark Hope-Jones

COLORFRONT L AUNCHES IN BUDAPEST

Mark Jaszberenyi giving a tour through the suites

Aron Jaszberenyi talking about the production workflow

The Colorfront grading cinema

Following an official opening in late September, Hungary’s new state-of-the-art DI and VFX postproduction house Colorfront threw its launch party on November 23rd, 2007. The company, boasting some of the most advanced facilities in Europe, was founded by brothers Mark and Aron Jaszberenyi, who have been at the forefront of DI technology since its very beginnings.

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?: How would you describe Fugitive’s strengths, and how do you see the company adapting to industry trends?Tb: Bringing together many years of experi-ence we can provide a high standard of creative and technical expertise. Our ethos of working closely with our clientele and suppliers ensures optimum quality and a perfect end product. Being a small indepen-dent company we can offer a more personal service and help see the job right through from scene to screen. One of the major draws for clients is the ARRILASER – proven to be the film recorder of choice by the industry, we knew it would be a valuable asset, allow-ing us to provide superior products on film.

It is becoming more important to be able to grow with the burgeoning digital cinema and 3D markets, and with the infrastructure we have installed we can easily adapt and grow without costly downtime. Productions with an increasingly digital methodology mean more data to handle, so we tried to keep the structure as simple as possible, allowing for modification at short notice without affecting workflow. The future is fundamentally about data, but in the long term if history proves current tape and stor-age formats to be unstable we can always rely on the ARRILASER to supply color separation masters!

Mark Hope-Jones

Fugitive StudiosFugitive Studios, a new postproduction facility in London’s Margaret Street, opened for business in August 2007 and threw its official launch party in November. Made up of four directors and one employee, the young company resides in sophisticated loft-style premises and has acquired an ARRILASER from ARRI (GB) to form a central component of its facilities. Focusing currently on title design, digital compositing, visual effects, foreign versioning and restoration, the company is deliberately structured to allow for expansion and flexibility in a market with ever-evolving needs.

Company Director Tim Baxter is responsible for the ARRILASER at Fugitive Studios and spoke to ARRI NEWS about how the film recorder has been incorporated into the company’s business model.

?: What data storage solutions have you opted for here at Fugitive?Tim baxter: We are using the Isilon IQ Clustered Storage System, which is a modular, pay-as-you-grow, flexible system. It has an easy-to-use, web-based interface and takes less than 10 minutes to configure and set up. If we need to expand capacity, storage can be added straight from the box in less than 60 seconds, with no downtime. Unlike a SAN it automatically balances data across the entire cluster in real time, preventing bottlenecks and maximizing performance, which means a quicker turnaround and satis fied clients. In-built software eliminates the need for separate volume managers, servers and switches as found in more expen- sive SAN’s. The Boxx workstations we use have 2TB of built-in storage, which gives us uninterrupted performance, allowing the

operators to render, composite and QC playback simultaneously, without network delays.

?: How do you tend to receive data from clients, and how is it moved around within the company before film-outs?Tb: Most of our data arrives on firewire drives, closely followed by SmartJog. Data is ingested straight onto the clustered storage system where all workstations can easily and quickly access it and if necessary copy direct to the 2TB workstation. When work is com-pleted we can film-out directly from the rendered data to the ARRILASER from this central system with no effects on performance. We have installed SmartJog for the transfer of data; the majority of our business is with film distributors worldwide so the global network of clients is ideally suited to us. Moving files without delays across a satel-lite network means we can receive or send data whenever we so wish with the knowl-edge that it’s secure and also it can shave valuable hours off ever-tightening deadlines.

?: What hardware and software do you use for titles, compositing, graphics and VFX?Tb: We use software-based Combustion4, Cinema 4D, After Effects and Iridas Frame-cycler for the creation of titles. Each of our Boxx workstations have these packages and with the 2TB storage on each one we can work in the background without affecting the rest of the network.

Tim Baxter with the ARRILASER

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ARRISCAN DVS Spycer

Lustre

Smoke

3D

Flame

Wire Tap

Infiniband

GigE

“The really interesting thing about this work-flow is that we can start with visual effects and color grading before the editing is finished because we have all of the footage in high resolution and with the full latitude on our disks,” continues Vitzthum. “As soon as the client returns their EDL we can start with the online.”

By using this workflow NHB avoids problems associated with tape-to-tape color correction such as a first transfer that limits creative pos-sibilities for the colorist. “And we regain the time we apparently lose by using a non real-time film scanner,” adds Vitzthum.

While NHB does not normally get involved in feature film postproduction, it does boast a fully-equipped grading theatre with a DCI (Digital Cinema Initiative) compliant digi tal projector. Vitzthum believes that digital cinema will generate a demand for high quality cinema commercials and he wants to provide the proper color correcting environment for his clients.

The ARRISCAN team in Munich welcomes its new client cordially: “We are enthusiastic to see how facilities like NHB strive for the highest possible quality for TV and cinema commercials,” says Elfi Bernt, Product Man-ager of the ARRISCAN. “We are convinced that the best source for any digital production is the combination of 35 mm film and the ARRISCAN.”

Harald Brendel

www.nhb.de

Have You Heard This Before?

Hamburg-basedcompanyNHBusesanARRISCANaspartofits tapelesspostproductionworkflowforcommercials.

The only pipeline element missing was the ability to transfer negative, until the company decided to invest in an ARRISCAN. Asked why a film scanner was chosen over HD telecine, Vitzthum answers: “We went for the ARRISCAN because of its superior image quality and because it fits in perfectly with our tapeless workflow.”

The ARRISCAN at NHB is connected via Infini band to a 24 TB SpycerBox from DVS, where 2k scans and 1k proxies are stored simultaneously. The SpycerBox provides real-time playback to the color grading and mastering stations (see diagram).

The 1k proxies are used for best-light color correction because German agencies like to work with material in the edit suite which already has the “look” of the commercial. The deliverables for the editorial can be generated traditionally as tapes or rendered in DNxHD format, which allows for fast import into the Avid system.

NHB uses a fast IP over Infiniband network connection. The ARRISCAN transfers up to 8 frames per second to the DVS Spycer file server, which provides real-time 2k playback to the Autodesk workstations.

Autodesk’s WireTap technology is used to exchange clips and time-lines between color grading, online, and VFX work.

Workflow at Nhb

Starting up 20 years ago with the tongue-in-cheek name NHB (Never Heard Before), the company has since become a renowned German postproduction facility for commercials and industrial films. “NHB is a full- production house,” explains Managing Director Michael Vitzthum. “We offer design and conception, sound recording and mixing, editing, color correction, 3D, and online.”

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The ARRISCAN and ARRILASER are industry-leading solutions for bridging the gap between the analogue and digital worlds. Clients who use these solutions typically do so in conjunction with a variety of tools and workflows associated with the creative processes that take place between scanning and laser recording. A wide range of powerful storage, grading, postpro duction and file systems are available on the market for many different applications and requirements.

Certify for QualityQuantel’s Genetic Engineering and the ARRI Partner Cert ification Program

Manager for Postproduction at Quantel – one of our certified partners – about their Genetic Engineering teamworking infra-structure.

?: Can you describe the concept of Quantel’s Genetic Engineering?mark horton: I think you have to start with the problem that Genetic Engineering is looking to solve. In any DI or postproduction workflow you’ve always got the possibility of issues with scheduling resources such as rooms, people and storage. For example, if you were doing any complex work involving a lot of film scanning, you might have to wait for material to be scanned, then trans-fer it to another volume, then wait for some-one to pick up that volume and dust bust it or whatever. So essentially you were looking at a serial process.

This meant there were lots of inefficiencies with machines sitting idle, waiting for some-thing to happen. The solution that people have tried recently is a storage area network (SAN) and although there are lots of good things about SANs, they do have some limi-tations. For example editing can mean copy-ing and not all SANs can playback 4k reli-ably. Some use local playback storage as well as central storage, which is slightly counter-intuitive. Also you can have issues when a SAN gets above 60 – 80 % full

because you start to lose performance.

?: So is Genetic Engineering an alternative to a SAN?mh: Genetic Engineering isn’t designed to go into competition with SANs, but is designed to be a hub system that helps you get more material in, work on it in a collab-orative way and get it out efficiently. That all makes the bookings people and the financial folks in a facility happy, as well as making the engineers’ lives easier.

The big advantage both for our customers and ARRI customers is getting at material while it is being scanned and, equally, mas-tering out to an ARRILASER as you’re work-ing. Essentially it’s collapsing the workflow into a much more parallel way of working rather than a stop-start, serial process.

At NAB we will have some new SAN-interface tools for Genetic Engineering because we recognize that a lot of our customers have exis- ting SANs that they want to make more efficient.

?: What are the component elements of the Genetic Engineering toolset?mh: What our customers typically have is a group of people working on a big project. There might be some people working on ingesting material, others cleaning it up, others color correcting and conforming it, others working on visual effects and still

ARRI has initiated a ‘Partner Certification Program’ in support of the constant growth of the DI market and the continued increase of possible infrastructure combinations. The pro-gram identifies

industry partners whose products link closely with the ARRISCAN, ARRICUBE and ARRILASER. Such partners are not limited to storage solution vendors, but potentially include suppliers of any hardware or software tools that are compatible with ARRI file formats and systems.

A long list of these partners is shortly to be published in press releases and on the ARRI webpage. In advance of this, ARRI News spoke to Mark Horton, Marketing

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there’s a huge amount of interest, both in general post and also broadcast. Genetic Engineering supports multiple streams of stereoscopic 2k and you can do lots of clever things like editing left eye and right eye at the same time, color correcting in context, mixing stereoscopic resolutions on the fly and other stuff you can’t get off a standard disk array.

We would expect that Genetic Engineering gets increasingly deployed on stereoscopic 3-D movies. It was used recently for the postproduction of a 3-D feature at FotoKem in California, with only 11 weeks between close of shooting and cinema release. And of course in stereo you’ve got to think of twice the workflow issues you would normally – all the more reason to use an ARRISCAN and Genetic Engineering at the heart of a really efficient stereoscopic pipeline.

www.quantel.com

Mark Horton, Marketing Manager for Postproduction at Quantel

others working on mastering – including for example shooting the material back out on an ARRILASER.

So, there are essentially three types of prod-uct that connect to Genetic Engineering. The first are our own products – Pablo, iQ, MAX and so on – which are designed to do things such as color correction, conform-ing, titling, VFX fixes and mastering. The second kind of product we have is SAM, which is our link to the outside world. So SAM is, for example, the way that you would get material into our workspace from an ARRISCAN and also how you might fire it back out with an ARRILASER. The third are non-Quantel products such as those from ARRI.

The idea of SAM is that it is a no-license, no-API technology: you don’t require a special license to link up with ARRI machines, or compositing software, or 3D software. And there’s no development needed by third parties to write a special interface to SAM because it uses a standard protocol called CIFS (Common Internet File System) and we can work with Windows-based systems, Linux and now with Mac OS X.

?: Genetic Engineering is clearly a very powerful tool that handles data up to 4k. Do you see an increase of demand for 4k postproduction workflows?mh: Yes. The two hot topics in the industry right now are 4k – although that’s rather limited to DI – and stereoscopic 3-D, in which

Q U A N T E L ’ S G E N E T I C E N G I N E E R I N G

PabloPablo iQ4

10gb ethernet

Sam

GenePool

3D VFX VFX

Film Scanner Film Recorder Film Recorder Dust Busting Station

Network Switch

5 3D i g i t a l I n t e r m e d i a t e S y s t e m s

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HighSpeed Package IIA R R I L A S E R

The Next Generation of the ARRILASER

5 4 D i g i t a l I n t e r m e d i a t e S y s t e m s

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Newly designed electronics now allow the bit depth of the internal processing to be raised from 10-bit to 16-bit, thereby render-ing any additional bit depth conversion ob-solete. This enables the processing of all 16-bit image data without any compression, from the file loader all the way down the data path to the D/A converter (digital-to-analogue converter).

The implementation of commonly-used FPGAs (field-programmable gate arrays) on the electronics board results in improved data handling and eliminates image transfer errors. In combination with the CAN bus protocol, this speeds up both internal communication and processing, while also making the sys-tem safer.

For faster service response and trouble-shooting, the option of remote access to the ARRILASER is now available, if external network access is approved by the customer. All hardware information can be read-out from the host PC, which also replaces the internal control computer.

Besides the advantage of a major speed enhancement, the ARRILASER HighSpeed Package II also comes with a new software package that offers unprecedented flexi- bility of operation and is itself capable of speeding up daily operations. The main advantage of the software is its ability to control and operate multiple lasers with the ease of just one application. And this doesn’t even have to be local to the ARRI -LASER workstation; the new client-server architecture permits ARRILASER applica-tions to be accessed from anywhere in the network.

The new job editor allows better access to recording jobs and also permits greater control of all image-processing options.

Since image processing will now be con-siderably more flexible, with more than one input and output node available, the node matrix has been designed to give a full overview. A new image viewer with A / B comparison slider will fully visualize the image manipulation, to avoid any unpleasant surprises after the recording has finished.A single centralized job database allows multiple reel recording with just one click and greatly simplifies both job and calibra-tion management. New software modules such as the status monitor will give not only the operator but also, for example, the DI supervisor better oversight and control of every ARRILASER in a facility.

The major feature of the HighSpeed Pack-age II is its speed increase for both 2k and 4k resolutions by a factor of two, compared with the current speed specification of the ‘top-of-the-line’ ARRILASER Speed Perfor-mance. This doubles the capacity of each ARRILASER, cuts down turn-around times dramatically and opens new opportunities for multiple recordings of one feature, allow- ing release printing purely from digital negatives even for projects that are on a tight schedule.

The ARRILASER HighSpeed Package II is scheduled for release in October 2008.

Roman Gadner

With a customer base of more than 240 installed ARRILASERs, it was decided that all further upgrades would be field upgrades, to secure the investment made by every single ARRILASER customer. In order to incorporate all the major feature requests that had been raised over the years by our customers, the new upgrade package had to include the possibility of a true 16-bit workflow and the long awaited Linux-based software package, as well as a doubling of the capacity of each ARRILASER. Thus, the new ARRILASER HighSpeed Package II was born. Nearly a decade into its lifetime, this latest upgrade truly represents the next generation of the ARRILASER.

The Next Generation of the ARRILASER

16-bit

New Software Package Speed Enhancement

ARRI L ASER MilestonesReleased in early 1999, the ARRILASER has gone through quite a few upgrades over the past nine years, and the limits of reso-lution and speed have been raised more than once. Offering an initial resolution of 4k and a speed of 6 s / frame, the ARRILASER set a new standard in film recording speeds and image quality from the outset in 1999 on. In 2001 the first speed upgrade came, allowing recording speeds of 4 s / frame for 2k resolution. This upgrade was made available to all ARRI LASERs as a field upgrade in order to minimize disruption.

Later that same year another speed upgrade was released with a software package that enabled recording speeds of 3.2 s / frame in 2k and 4.9 s / frame in 4k.

After a further year, which saw the release of additional fea-tures that offered options for camera negative, B & W and 3 perforation recording, the next upgrade became available. With the release of the ARRILASER HighSpeed Package I, speeds were increased to 1.7 s / frame in 2k and an unsur-passed 2.9 s / frame in 4k, once again setting a standard in film recording speeds without any compromise to image quality.

5 5D i g i t a l I n t e r m e d i a t e S y s t e m s

ARRI True BlueA particular focus of the enhancements to the True Blue lampheads has been their adaptability to accessories. The tilt lock has been dramatically improved by a stainless steel friction disc that locks tight enough to eliminate the danger of forward tilting when heavy, front-mounted acces- sories such as Chimeras or colour changers are in use. In addition, a new stirrup centre adjustment allows the stirrup to slide back and forth until it is positioned either at or near the lamphead’s centre of gravity, depending on the accessories attached.

Another new feature of the True Blue range is the Stegmaier connector, a rotatable cable outlet that can be moved through 120° of turn. This easy adjustment swiftly adapts each lamphead to an ideal cable orientation for either ceiling-grid or floor-stand mounting.

Several refinements have been made to the barndoors of the True Blues. The aluminium alloy barndoor leafs are now stronger, less

susceptible to bending and fastened at the hinges by fewer and larger bolts, which are easier to tighten. The leafs can also be moved without making any noise and do not project lower than the base of the lamp housing when inserted vertically, which means that a lamphead can be placed on the floor without risk of damage to the barndoor.

ARRI’s new cross-cooling system, incorporated into the design of the True Blue range, has reduced the lens temperature by 17% when the fixture is fully tilted down. While con-ventional cooling is severely impaired when lamps are angled downwards, which in practice they often are, this system over- comes the problem by encouraging a stream of air to pass around the Fresnel lens and into the lamphead from the front.

Following extensive research and feedback from rental houses, gaffers and other light-ing professionals, the True Blue designs bring together end-user experience with ARRI’s industry-defining expertise to form a new core range of lighting fixtures incor- porating the latest technology and materials. Offering a wealth of cutting-edge features as well as reduced weight, compact size and maximum light output, the True Blues combine versatile functionality with efficient performance.

While the overall weight of the True Blue fixtures has been reduced by their aluminium construction, there have been no sacrifices to robustness. Many components now offer greater strength and resistance to corrosion; the paint finish is more durable and the smooth lamp housing surfaces are easier to clean. The extensive redesign work has prioritised quick and easy access to internal parts such as cables and reflectors, which in turn has simplified maintenance and repair.

The True Blue range epitomises ARRI’s commitment to market-leading quality

and design. Representing the next generation of ARRI lighting products, this

fundamental collection of lampheads for studio and location applications has

been redesigned down to the smallest detail and sets a new benchmark in

professional lighting equipment.

5 6 L i g h t i n g

True BlueKey Advantages

• Improved Tilt LockTight-locking friction disc

prevents the forward tilting caused by front-mounted accessories

• Stirrup Centre AdjustmentSliding stirrup connection allows balancing

at the tilt lock, with or without accessories

• Stegmaier ConnectorRotatable cable outlet suitable for both ceiling-grid

and floor-stand lamphead mounting

• Improved barndoorA number of design refinements combine to make

a stronger, quieter and more durable barndoor

• Cross-CoolingA flow of air entering the lamphead at the lens

reduces both bulb and housing temperatures

• Easy maintenanceEasier to clean and repair, True Blue units are also constructed of longer-lasting components

5 7L i g h t i n g

There are many challenges that face a leading manufacturer of

lighting equipment for the motion picture industry, but one of the

key questions is: ‘How do different light sources compare on film?’

In a field rife with new technologies, such as the current trend

towards LED-based lighting solutions, the issue of how different

lights actually register on film emulsion remains a primary concern,

especially given the uncompromising demands of high-end

professional filmmakers.

By their physical nature, LEDs are limited to rather tight bandwidths of the visible spectrum. In order to realize a continuous spectrum, an endless selection of different colored LEDs would be necessary. Since this isn’t possible for practical and most of all cost reasons, engineers have to find a mixture of LED colors that looks good to the naked eye but also registers well on film material, which does not display the same sensitivity as the human eye.

White light LEDs work on a similar prin-ciple as fluorescent lamps: A blue LED is covered with a thin phosphor layer that converts part of the blue light into a broad-band yellowish light. The white light thus produced is mostly a combination of part of the original blue light passing the ‘con-verter phosphor layer’ without conversion, and the converted yellowish light. The quality of this light is comparable to that given off by 3-band fluorescent lamps.

In the film industry fluorescents usually cause unwanted color shifts (typically greenish) on film material, so they are almost always

Latest news from the

ARRI Lighting Lab ...

With its focus on high quality products, ARRI Lighting is continuously testing the color rendition of new light sources. Besides scientific analysis of new and innovative light sources, this process also involves practical film tests that explore the relation-ships between light sources and specific film materials of various sensitivities. The results of these tests help our engineers develop simulation tools and mathematical models that allow light sources to be de-signed virtually. This is of particular interest for new developments in the area of LED-based light sources.

Depending on color temperature, incan-descent light sources such as tungsten halogen lamps, or natural daylight are considered high quality white light sources, because they offer a so-called ‘continuous spectrum’ and are the best reference for judging quality of light. Such sources produce a consistent representation of all visible colors, which means that an object illuminated by this kind of light is able to reflect back all of the colors included in its surface. In other words, the color rendition of these sources is at its highest possible level. This is not only de- sirable for film applications but also for all other lighting tasks where good color representation is required, such as fashion light- ing, medical lighting, museum lighting and the printing industry.

LEDs, even white light versions, do not offer a continuous spectrum.

used with correction gels. These color shifts on film material are the result of the unfor-tunate coincidence of peaks in the narrow band emission spectra with the peaks of the spectral sensitivity of the film material and missing color parts between red, green and blue. A correction filter does not fill the gaps in the spectrum and it does not make the emission lines broader, but it brings the light characteristic to a level approximately attuned to the sensitivity of film emulsion. Since white light LEDs are based on the same principle as fluorescents, they suffer the same problems with color rendition.

ARRI engineers are at work on a new con- cept for an LED-based light engine that addresses all of these issues and will offer high quality white light characteristics. The current field-tested solution not only achieves the desired high quality white light, but provides a versatile light source that can be fully adjusted across a wide range of color temperatures. Additionally this concept is able to produce any desired color or color transition within a wide bandwidth of colors.

The new ARRI LED solution will encompass various advantages such as bulb lifetimes up to 50.000hrs, good efficiency levels, endless color variations and adjustments, a shock-resistant design, dimming without color shifts and most of all, a balanced spectral distribution to achieve high quality results on film material.

ARRI Lighting invites you to judge the quality of light through your own eyes…

Timo Müller

380 580 780

l

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continuous spectrum ofa tungsten light source

l

380 580 780 λ

spectrum ofa white light LED

l

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spectrum ofa RGB LED

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Tungsten reference 3200K, ARRI 650 ARRI LED concept 3200K

Daylight reference HMI 5600K, Compact 200 ARRI LED concept 5600K

Daylight reference HMI 5600K, Compact 200 Conventional daylight white LED panel (non ARRI)

Tungsten film material,ARRICAM

Daylight film material,ARRICAM

Daylight film material,ARRICAM

Latest news from the

ARRI Lighting Lab ...

DoP Tom Fährmann ( W U N D E R V O N B E R N ) test ing the ARRI LED system in his photography studio

Images show raw-material without any brightness or color correction

5 9L i g h t i n g

ARRI LIGHTS ILLUMINATE RO LLS-ROYCE JET ENGINE TESTS

Boeing 787 Dreamliner with Trent 1000 engines

Almost six years before Orville and Wilbur Wright made their tentative and bumpy first powered flights over the soft, sandy Atlantic coast beaches at Kitty Hawk, North Carolina on 17th December 1903, an enterprising engineer on the other side of the Atlantic in London, Horace W. Cullum, established a company specialising in noise control products. More than 100 years later, these two seemingly unrelated events have been linked by advancing 21st century technology – with ARRI lighting playing a vital role.

Cullum Detuners Ltd (CDL), the company that Horace Cullum’s business became some 50 years ago, recently completed Rolls-Royce’s (and the world’s) newest, quietest and largest test facility for the development of future, high-economy, environmentally-friendly aero engines. 58 Bed is one of several investments in world-class aerospace facilities in Derby, the historic UK home of Rolls-Royce’s aircraft engine business. It is, quite simply, the most advanced indoor jet engine test facility in the world.

When English engineering firm Cullum Detuners Ltd needed spe-

cialist lighting for a major contract with Rolls Royce, they initially

approached Andy Barnett, technical support engineer at ARRI (GB)

to examine technical specifications and photometrics. Subsequently,

the ARRI project team comprised Barnett and Martin Carnell, UK

lighting sales manager, with assistance provided by Herbert van

Hille from the ARRI Lighting factory at Stephanskirchen in Germany.

Keith Read discovers just how ARRI is helping Rolls-Royce, one of

the best-known names in aerospace, with the testing and develop-

ment of jet engines…

6 0 L i g h t i n g

Trent 800 on Boeing 777 Launch engine for Dreamliner

ARRI LIGHTS ILLUMINATE RO LLS-ROYCE JET ENGINE TESTS

Rolls-Royce’s family of civil aircraft engines

Bill Rigg is Cullum’s technical/sales director: “We were delighted to be the prime con- tractors, taking on the brief to design and deliver a turnkey facility for Rolls-Royce,” he says. “We work with Rolls-Royce on an ongoing basis and the company is our major customer. But this contract, valued in the region of $60 million, was by far our biggest. It put CDL and its 200 people on a new level.”

The 24-month contract proved extremely challenging, particularly because Rolls-

Royce needed to carry out a whole series of special tests indoors at 58 Bed. Previ- ously, all such tests were undertaken at an outdoor facility now being decommis-sioned.

“58 Bed is a very detailed and expansive application,” says Rigg. “Our main areas of input were in acoustics, aerodynamics, systems and the structural design. For other areas, such as the considerable civil en-gineering work, we brought in specialist contractors.”

Like its near-identical twin, 57 Bed, which played a prominent role in the general development of the four existing members of the Rolls-Royce Trent aero engine family – the Trent 700 for the Airbus A330, Trent 800 for Boeing’s 777, Trent 500 for the Airbus A340 and Trent 900 for the Airbus A380 – 58 Bed will undertake key tests in the development of the two Trent variants still in development, the Trent 1000 for Boeing’s 787 and Trent XWB for the Airbus A350XWB. As part of these tests, 58 Bed will undertake critical procedures to ensure

61L i g h t i n g

the integrity of the aircraft engines. Integ- rity that the Wright brothers could never, in their wildest dreams, have imagined possible, yet integrity that we, as everyday passengers aboard sophisticated aircraft, take for granted.

A crucial element of much of the work undertaken at 58 Bed is for engineers to be able to study, visually, exactly what happens during tests, hence the use of as many as 20 high-speed cameras recording every aspect of each test at up to 10,000 fps. Playing back the images provides slow-motion evidence of the vital millisecond of a test; but to have clear images from such high-speed photography requires a huge amount of intense lighting – up to 240,000 lux.

“The old outdoor test site employed some 300 high-intensity halogen lights and we considered re-using them,” explains Rigg.

“But in the confines of the indoor test facility it was essential to have considerably fewer lights so that they did not obstruct the all-important flow of air to the engine. They

T E S T I N G P R O C E D U R E S

Trent engine from the rear showing the vast scale of the Bed 58building compared with the engineer at the front of the test hall Trent 1000 engine

Over the course of a year, Rolls-Royce carry out around 200 tests on aero engines world- wide; in a very few cases, a multi-million dollar engine is tested to destruction. It’s an expensive business ensuring the safety and integrity of engines required to meet the highest of quality and reliability standards.

Bill Rigg describes four of the important tests that will be undertaken in the relative comfort and security of 58 Bed – tests which challenged CDL’s design teams and engineers to come up with solutions not necessarily considered when the outdoor test facility was built many years ago…

“One test that is quite spectacular, and was quite difficult from our point of view, is the engine cold start. An enormous refriger-ated box is put round the engine and all its fuel, oil and hydraulic supplies, and frozen down with liquid nitrogen to lower than minus 54°C. Then, very quickly, the box must be removed and the engine started before the temperature starts to rise.

“Removing the box at an outdoor test site is relatively easy – you just push it to one side. To do it indoors requires a significant amount of logistical planning in order to get the box away in two or three minutes and to a point where it doesn’t obstruct the air flow to the engine.

“Bird ingestion is where a multiple-barrel gun fires chickens into the running engine at about 180mph to check that no major damage is caused and that the engines can keep flying,” he says. “It simulates what happens when either flocks of birds or large individual birds are sucked into an aircraft engine. Hail and water inges- tion is much the same, simulating the worst of tropical storms. Ice cubes, precisely formed to a specific size and diameter to replicate hail stones, are fired by com- pressed air in a continuous stream into the engine to check that everything remains okay.

62 L i g h t i n g

lighting that can give you such a high level of light intensity from a single lamp,” con-tinues Rigg. “We looked at other people, but their products didn’t have as neat a solution at the end of the day. And a bonus for us was that the ARRI lights do not pro-duce heat levels that could adversely affect the tests.

“We’d not used ARRI before but we found them very professional. They provided ex-actly what we needed and we got exactly what you would expect from a blue-chip company within their field. Most importantly, the products haven’t caused us any head-aches, which is exactly what we wanted.”

Keith Read

also had to be able to be set up very quickly to minimise pre-test preparation time.”

Just 12 ARRISUN 120 12kW lampheads provided the perfect answer. Mounted on purpose-designed trolleys and positioned on special tracks with hoists, they are quick to set up and easily removable after each test.

“Rolls-Royce left it to us to select the lighting manufacturer and we chose ARRI because they are one of the very few suppliers of

Engine support structure Trent engine in 58 Bed ready for testing

Derby South MP and former British Government Minister, Margaret Beckett, who formally opened 58 Bed on 17th September 2007, with Pete Penny, 58 Bed project manager at Rolls-Royce.

Aerial view of 58 Bed facility clearly showing the air intake and exhaust stacks

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The vital statistics of 58 Bed are impressive. The main body of the test cell is of a twin skin construction with reinforced concrete inner and outer walls separated by a 2 m void. The inner and outer skins are com- pletely isolated from each other both above and below ground to prevent transmission of sound and vibration to the surrounding environment. The test bed is 110 m long and 20 m wide, its inlet stack is 20 m high and its exhaust stack 30 m high. The internal cell cross section is 14 m2 with the engine centreline at a height of 7 m. The complex sits on 450 piles sunk into bedrock.

Aero engines enter the cell via an overhead, automated transportation system from work-

stations in the rigging shop to an overhead thrust stand. The main inner and outer doors, weighing 80 tonnes each, are fully automa- ted, mounted on rails, and extend up to the full bed height. During tests, air is sucked down through the cell intake, then turned and straightened to flow evenly and with- out turbulence into the engine intake. The bed is capable of passing over 4 tonnes/s of air.

During construction of 58 Bed, 11,000 m3 of concrete, 1,000 tonnes of reinforcing bar, 26,000 m2 of walls, beams and decking, 300 tonnes of intake silencing elements and 710 tonnes of exhaust silencing elements were used.

“Last, but not least, is the blade-off test, which is very challenging in every sense, including in terms of test cell design and the support ing structure for the engine. In the test, one of the blades is deliberately partially cut through at its root, the engine run up to maximum speed and a small detonation carried out on the root of that blade. The test is to ensure that debris is contained within the engine casing and ejected through the exhaust, and that the engine can be shut down safely by the flight crew. There are huge loads and out-of-balance forces associated with doing that controlled release, which we have to take through the structure that supports the engine and dissipate through the concrete structure of the building.”

6 3L i g h t i n g

The projectPhotographer Stephan Paul Stuemer illus-trates the staged dancing sequences from the story of TANGO ARGENTINO. The chal-lenge and the attraction of this project was to show the passion of the protagonists and the motion of the dance only through mimic and posture. Around 30 different scenes were produced in a two-day shoot to demonstrate the moving history and development of the TANGO ARGENTINO. A crew of 25 young people including the tango choreographer Martha Giorgi and the renowned Argentinean musician Carlos Mateos were involved in this non-commer-cial project. In preparation for the shoot the photographer made sketches for all scenes. This ensured an efficient workflow. He planned the camera positions and dancing sequences, organized people and equipment and placed protagonists and lights. The complex shoot took place at the Buena Vista Bar close to the famous

Viktualienmarkt in the heart of Munich. No better place could have been found. The bar has quite unique charm – brick walls, dark wooden furniture, lovingly decorated with South American flair.

The moodLighting played a major role in achieving expressive, authentic photographs. The original Tango was a means of expression during times of desperation and lack of prospects. To evoke the cliff hanging times of the original Tango, lighting rich in con-trast was necessary. Tungsten Fresnel Spot lights suited this mood best. The photo-grapher chose the ARRI Studio 2kW with diffuser as key light and four ARRI 650s for effects and fill. The precise placement of the lights revealed carefully selected details and ensured separation from the background. The focus ability of the ARRI lighting fixtures was especially useful for the photographer. Stephan Paul Stuemer

Mood is light

TangoArgentino

The light falling into the bar from outside was accomplished by using an ARRI Compact 1200. The contrast between the tungsten (3200K) and daylight (5600K) color temperatures was emphasized through the artificial smoke and compli-mented the look.

More photographs of this project and the Making-of can be viewed at www.ritmo2x4.com.

Claudia Wutzke

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F.l.t.r.: Martin Grimme and Carsten Reinkemeyer (AZT), Martin Gigler (ARRI)

ARRI X 25/40illuminates Car Crash Test Facility

ALLIANZ Insurance goes ARRIThe “Allianz Center for Technology” (AZT) is a subsidiary of Allianz

Versicherungs-AG, a major German insurance company, which also

operates one of the most important international research centers for

technical damage and industrial risk researches. Several ARRI X 25/40

fixtures including control gears have now been installed to upgrade

their crash test facility, based in Ismaning near Munich.

For more than 65 years, the Allianz Center for Technology (AZT) has been engaged in the investigation of the causes of dam- age and losses, in the prevention of tech- nical damages and operational downtime for insurance companies, and for opera-tors and manufacturers of machines and industrial equipment. The new ARRI X system completely replaces the previous tungsten system with a modern, and much more efficient light, now operated on a high intensity daylight discharge lamp-tech-nology, offering some decisive advantages.

The ARRI X system now enables ATZ to shoot high-speed camera clips in color, whereas the old system only permitted black

and white recording. Utilizing less lamp heads, the heat dissipation was reduced, compared to the old system, while light- output has been increased significantly.

Martin Gigler, project- and application engineer for ARRI’s Industrial Lighting department says: “We are able to offer a full service for the installation of lighting systems for car crash facilities – this is a great advantage for our clients. More international projects are already in the pipeline. We are on our way in becoming an international competence centre for crash-test lighting.”

Peter Rothnie

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There were good reasons for Radio Bremen to decide on ARRI equipment when it came to lighting: from planning to installation and systems integration, ARRI took responsibility for the entire project. For the first time it is not only the two production studios, but also the so-called multi-functional venues – such as the conference area, the restaurant and the generously open foyer – that are equipped with state-of-the-art lighting equipment. This is a real novelty at the ARD (the umbrella organisation of the nine regionally-structured German broadcasters), as it is now possible to put scenic lighting for media production into these venues.

At the same time, ARRI – with its wide range of lighting solutions – has helped the broad- caster get ready for production in HD. The two studios are equipped with rail systems that allow for the flexible use of the 88 monopoles. To meet current production requirements, every monopole can be equipped with controllable lampheads up to a maximum of 3,000 W. In addition to the lighting monopoles, there are 16 hoists to position stage elements and decoration, and 18 media monopoles for loudspeakers and monitor screens. The processor-based suspension control system memorises all positions and moves, allowing them to be played back at any time.

The event studio is designed according to the needs of shows and special events, and can even be combined with the restaurant. In this venue, manually-operated film lamp- heads will be used. The TV studio, built for hosting several daily programs such as the evening show BUTEN UN BINNEN, is equipped with motorised yokes. Thanks to the position memory control, all relevant parameters of the lighting design can be stored and played-back with just a few key-strokes. This control system makes the pro- duction workflow a lot easier and far more efficient, as it allows for a much better use of the new production centre’s studio space.

In addition to the studio lighting and suspen- sion machinery, the lighting control desks also have controlling access to the house lighting system. Thus, it is possible to inte- grate the lighting of staircases, corridors, the restaurant and other venues into the scenery lighting design. To meet the special requirements of this complex control system, ARRI has tailor-made control software and control panels. Up until now, this high inte- gration level of control software and inter- faces has been quite unusual in broadcast environments.

ARRI not only managed to cope with the tough delivery and installation schedule,

but was also able to provide an outstanding price-performance-ratio. For a TV studio project, constructional and architectural requirements had to be observed to an unprecedented and intense degree. Small wonder that this installation turned out to be one of the most demanding and com- prehensive studio projects. The new pro- duction venues at Radio Bremen are among the most modern that ARRI has ever made a reality for a German broadcaster.

Norbert Wunderlich / Thorsten Hauer

Radio Bremen –a multi-functional TV complex

Equipment• 286 ARRI tungsten lampheads, ranging from 300 W to 2.000 W; 30 motorised yokes

• ARRI Studio Ceramic• ARRI Compact 200 W daylight lampheads

• ARRI Studio Cool 4 + 2• ARRI Cyclo• Positioning, using state-of-the-art suspension equipment: – 146 ARRI lighting monopoles – 18 ARRI media monopoles (for audio and video equipment) – 16 ARRI hoists

With the help of ARRI Lighting Solutions, Radio Bremen gets ready for HD

6 6 L i g h t i n g

A further advantage of the new ARRI posi- tioning control system is the use of a flash-disk instead of a disk drive. The flash-disk does not contain any moving parts; shock and vibration – a permanent problem in the tough studio environment – do not matter at all. The control panel meets all requirements of the stringent German safety standard BVG C1.

The control panels are part of the complex, bi-directional and hierarchically structured real-time system. This system consists also of the RailControllers (dedicated controllers on every line of the monopole rail system) and the controllers on the single monopoles. The lighting control desk, the PCS 2100 control panels (for the suspension equipment) and the RailControllers, communicate via 10/100 Base-T-Ethernet. The RailControllers then convert the Ethernet signals into Profibus-DP data for communication with the single monopoles. The Profibus-DP is a European standard (EN50170) and provides a data transmission rate of 12 Mb/s. Developed for safe and efficient control of automation equipment, its hardware and bus protocols include adequate overhead to make this real-time bus extremely robust and reliable. Profibus-DP meets all the stringent safety requirements of the broadcast industry.

The software and firmware of all compo-nents can be easily updated via Ethernet. Furthermore, all components of the ARRI positioning control system product family provide extensive self-diagnostic features. These diagnostic features are even available during live-production – and do not interfere in any way with the ongoing broadcast.

Norbert Wunderlich / Thomas Luther

PCS 2100ZDF o p t s f o r t h e A R R I pos i t ion ing cont ro l sys tem

The very first installation of the new position-ing control system at the RBB in Berlin, in mid-2007, proved so successful that the pro- ject engineers at ARRI Lighting Solutions (ALS) have subsequently been awarded a contract with ZDF. Producing varied, nation-wide pro- gramming, ZDF is one of the largest broad- casters in Europe – and one of Germany’s three favourite channels.

One of the main reasons to choose the new PCS 2100 ARRI control system is its intuitive graphical user interface, which is individually configured according to the studio layout. In the 200 m² ZDF Studio 2 in Mainz, the con-trol system opens up a new dimension in flexibility of lighting fixture control. Equipped with 85 ARRI Studio tungsten lampheads, the studio is used for the production of famous German TV programs including MITTWOCHS-LOTTO, DREHSCHEIBE DEUTSCHLAND, HALLO DEUTSCHLAND, LOGO, AUSLANDSJOURNAL, REPORTER and the POLITBAROMETER. The PCS 2100 is fully automated, with mono- poles allowing vertical positioning and mo-torised yokes moving the lampheads on three axes. All positions can be memorised and played-back at any time. The pan and tilt movements of the motorised yokes provide 16-bit resolution; in addition, a motorised focus and a fully motorised 4-leaf barndoor are available. The lampheads themselves are equipped with double-filament lamps in

order to compensate for the shift in colour temperature caused by dimming.

It was a real challenge for the ALS project engineers to tailor the control system exactly to ZDF’s requirements. Some of the broad-caster’s programs follow each other in a daily schedule; others are produced only once a week. This is exactly where the ARRI PCS 2100 comes into its own, with signifi-cantly reduced setup time, less man-power and far more flexibility. Adjusting the posi- tions of the motorised yokes and the dimmer settings for each program can be completed in a matter of minutes; lighting fixtures can be moved individually or together in groups.

The assignment of individual suspension units to such groups, as well as their vertical and horizontal positions, is recorded in so-called cues, which can be automatically run and played-back. In order to avoid any collisions between the lampheads and set decoration elements, a computer-generated home posi- tion can be assigned prior to scenic move- ments.

The operating panel consists of a 19-inch widescreen touch display with a resolution of 1,280 by 1,024 pixels and a joystick with an integrated ‘dead-man’s handle’ for move- ment control. A numeric key-pad for the quick and direct selection of individual units com- plements the operating panel.

In ZDF Studio 2 there are three operating panels installed: a wall-mounted panel, a panel mounted on a trolley and a back-up panel (the ARRI PCS 2100 supports up to ten operating panels). On each panel, two different user-groups (the system allows for a maximum of four) can work from their indi- vidual, password-protected, topographically laid-out user interfaces. However, only one panel can control the equipment at any one time.

6 7L i g h t i n g

Kuwait: Al-Watan TV ProjectLargest TV-Studio in the Middle EastAfter Al Jazzeera, ALS can now put another major TV station in the area on its client list. Broadcasting out of Kuwait, privately owned Al-Watan TV operates the largest studio in the Middle East, with a floor area of 1050 m².

ARRI Lighting Solutions’ project engineers delivered a convincing concept from start to finish. Together with the most reliable product quality, a fast designing process helped sway Al-Watan’s decision to entrust ALS with this project. Close cooperation with Cinemagic Kuwait Ltd. – system inte- grators and consultants for ALS on site – turned out to be another advantage.

Originating from the publishing house of the same name, Al-Watan TV offers a wide range of commercially financed programs. It is the first HD entertainment channel in the Middle East, delivering news and family entertainment shows that appeal to a diverse

population while still maintaining traditional Kuwaiti values. Al-Watan also produces flagship programs such as GOOD MORNING KUWAIT and THE LATE NIGHT SHOW.

With over 1,000 TV stations, the Near and Middle East is a very promising and fast-evolving market. “Al-Watan in Kuwait was a very rewarding and interesting project,” says Klaus Dziuba, Sales Director for the region at ALS in Berlin. “It underlines ARRI’s specific potential as a leading equipment manufacturer, as well as a perfect partner for turnkey studio solutions in this market. Only last year, ARRI Lighting Solutions equipped new studios for the Al Jazzeera International English Channel in Doha, London and Kuala Lumpur. This was the first turnkey solution for the broadcast market offered in this area by a German company.”

Norbert Wunderlich

Kick-off Party and Workshop in Damascus, SyriaGhali Electronics in Syria is ARRI Lighting Solutions’ new regional partner. Having recently worked together to deliver lumin- aries and lighting supplies to the National Film Organization and local TV produc-tions, ARRI and Ghali Electronics officially announced their partnership with a celebra- tory event at which the latest equipment was displayed.

This event coincided with the 15th Inter- national Film Festival in Damascus and allowed the 90 or so attendees – including guests from National TV, privately owned TV stations, the National Film Organization of Syria, as well as technical directors and lighting specialists from Central Television of Saudi Arabia – to meet and mingle. Guests were introduced to representatives from the German embassy and Deutsche Welle TV, and were also able to meet Salloum Haddad, one of the most famous movie actors in Syria.

After the opening address from Fouad Houri, Managing Director of Ghali Electronics, Norbert Wunderlich welcomed the guests

on behalf of ARRI Lighting Solutions. Klaus Dziuba, ALS Sales Director for the Near and Middle East and Africa regions, gave a presentation summarizing ARRI’s 90 years in the industry and the wide product range of the whole ARRI group.

However, the main focus of interest was the exhibit and hands-on demonstration of ARRI luminaries, ranging from the Studio, Junior and Compact-Series to the Studio-Ceramic and ARRI Studio Cool lights. Numerous questions were answered in a workshop session and guests were particularly impressed with the new ARRI LED background illumination as well as the reporter lights in a case, which showcase ARRI’s rugged and reliable product quality.

“Class” and “Lai Lina” (Our Nights), the local magazines in Syria, each ran a full-page report on the event, emphasizing the pleasant atmosphere and the convincing presentation. The reports stated that the specialists of the Syrian broadcast market left the event with a lot of new ideas. The broadcast, film and media industries are

expected to grow substantially in Syria over the next years.

Norbert Wunderlich

A highlight during the event was the cutting of an ARRI

cake. This custom is common in the Arabic

region to confirm business associations,

as it symbolizes the joint use of swords to

cooperate in friend- ship. Before the event

Fouad Houri signed the partnership

agreement and was presented with a

special certificate.

EquipmentFollowing ARRI Lighting Solutions’ design and delivery, the following equipment was put into operation.

• 70 IFF hoists• 20 pantographs• 80 ARRI 2kW Studio (p.o.) • 95 ARRI 1kW Studio (p.o.) • 40 ARRI Junior 650 (p.o.) • 24 ARRI Studio Cool

6 8 L i g h t i n g

special mix of about 40 tungsten, fluores-cent and daylight fixtures (650 W, 1000 W, 2000 W Junior, 2,5 kW Compact, Studio Cool). The studio is the largest of its kind and makes the best possible use of a unique backdrop during its news coverage.

Even awkwardly shaped spaces – for example long and narrow – can be turned into very productive studios through the ingenuity of the ARRI Lighting Solutions project team. After intensive consultations with customer Sono Cairo, a design was developed that offers three individual studio sets within a single studio space of 130 m2, utilizing ARRI Cool Lights, suspension equip-ment and control systems to create a truly multifunctional studio.

Shortly after the show our local system integrator Cine Spot opened a new office in the Media City of Cairo, the most important broadcast center in Egypt.

Norbert Wunderlich

This 11th international trade show also marked the opening of a new studio equipped by ARRI Lighting Solutions for Rahma TV, a privately owned religious channel that went on air at the end of 2007.

Since 2006, when ARRI first joined in at the ERTU international expo, some challenging projects have been realized. One of them was a multi-purpose studio for Dream TV, a project that involved planning, consulting and service, as well as almost 150 ARRI STUDIO tungsten lights, together with dimming technology. At 900 m2, this is the largest privately owned TV studio in Egypt and one of the most popular TV stations in the Arabic world, broadcasting its two channels over Nilesat. The studio accom-modates a diverse range of programs, from news and talk shows to entertainment.

Another milestone facility was set up for the Arab News Agency ANA. A “live-view studio” with a 14 m glass front directly facing the Nile was equipped with a

Egypt is one of the most significant media locations in the Near East and a very successful area for ARRI Lighting Solutions. Over just the last few months, a number of studio installations have been designed and equipped in close cooperation with the local system integrator, Cine Spot in Cairo. Based on such encouraging market developments, ARRI took part for the second time in the international exhibition in Cairo, organized by the Egyptian Radio & TV Union (ERTU) – a perfect setting to say thank you, present a certificate to Mr. Amr Shahata, Director of Cine Spot, and prolong the system integrator contract.

A true highlight of the show was the ARRIMAX. Of course all the other latest innovations – the LED background illumina-tion system for TV studios, ARRI’s new PCS control system, the Studio Ceramic series, ARRI telescopes and the 90th anniversary portable light kit – were met with great interest. High ranking representatives and specialists from the media industries of Egypt, Syria, Jordan and Morocco joined in at the ARRI booth, among them the General Manager of ERTU – Mr. Ahmed Anis, the Minister of Information of Morocco – Mr. Khaled Al Nawasseri, the General Manager of Cairo Sono (the biggest state-owned TV production company in Egypt) and Mr. Safwat Ghattas – president of the biggest privately owned TV and film pro- duction group in Egypt.

ERTU-Exhibition in Cairo6 9L i g h t i n g

One of the first conversations Baumgartner shared with Elswit was about the film’s overall look and tone. “I followed cues from Robert and Paul, they are two incredibly talented filmmakers and I felt honored to be there. It was a predominantly day exterior film. The overall look was to have it be naturalistic and not look like it was lit. Stylistically, it was all about naturalism, and they wanted to use the harsh starkness of the bleaching prairie sun. They didn’t want to be concerned with a high top light or blocking out the sun with silks and making it look pretty. They wanted the sky and windows outside to blow out. They wanted it to look and feel like it was – a dry, hot, desolate place. This got me thinking we would need some serious firepower out there in the plains of West Texas.”

Before starting preproduction on T H E R E WI L L BE B LOOD, Baumgartner was given a special demonstration of an ARRIMAX

THERE WILL BE BLOOD is a sprawling epic about California’s turn-of-the-

century oil boom and an extremely strong-willed prospector (played by Daniel

Day-Lewis) determined to make his fortune off of it. Inspired by Upton Sinclair’s

novel, Oil!, the film has been one of the most critically acclaimed films of 2007,

nominated for multiple Oscars including Best Picture and DP Robert Elswit,

ASC winning for Best Cinematography. Written and directed by Paul Thomas

Anderson, THERE WILL BE BLOOD reteamed him again with frequent collabo-

rator Elswit. Also on board was Chief Lighting Technician Robby Baumgartner,

whose credits include BABEL, THREE BURIALS OF MELQUIADES ESTRADA,

21 GRAMS and the upcoming STATE OF PLAY.

18K HMI/PAR prototype in the ARRI Inc. Burbank office. “I instantly knew this light was incredibly useful and that it was also completely different from other PARs,” says Baumgartner. “I personally think it is a totally new light. The quality and range of the ARRIMAX is completely different because it doesn’t employ lenses. I think of it as an 18K Blonde or an 18K open-faced light in a lot of ways. When I’m lighting night exteriors or night interiors, I utilize Blondes and open-faced lights a lot, bouncing them and going through diffusion. So now having a powerful HMI source with the similar qualities but much more range in terms of spot and flood, the [ARRIMAX] becomes a very useful tool. On top of this, it is a very clean source optically. I’m not going to say it has as clean a shadow line as a Fresnel at full flood, but if you have the room and can get some distance, the shadows are incredibly sharp and that sharpness does not

MAX F

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On the set of Paul Thomas Anderson’s THERE WILL

BE BLOOD.Photo by Francois Duhamel

Illuminating THERE WILL BE BLOOD

7 0 L i g h t i n g

degrade as you spot the light. In addition, the ARRIMAX 18K HMI/PAR is much easier to flag and shape then regular parabolic PARs that use lenses. It’s much closer to a Fresnel in that way. As a result you end up with much more firepower reaching your subject, instead of being eaten up by floppies, flags and nets.”

Realizing the many exterior shots comprising the film would require large amounts of illumination; the gaffer purchased the first two ARRIMAX lights available in the United States, making THERE WI L L BE BLOOD the very first American film to use the powerful fixtures. “When I was hired on THERE WILL BE BLOOD, I knew we would be shooting a lot of day exterior locations and that we would need some pretty intense firepower. The majority of scenes used the intense sunlight as part of the look of

the film and we needed to have an intense light to fight back a bit. Once I introduced the ARRIMAX lights to Robert Elswit, they worked all the time. Whenever we employed artificial lighting to augment the sun or to fill, the first light out was the ARRIMAX. Either bounced, direct or through some diffusion, it had a range of usages that were perfect for day exterior, day interiors and wide-open spaces. We did not use them for night scenes, because Paul and Robert thought that moon light or artificial light would be wrong for this film and they preferred to let it go black.”

The film opens with a dramatic 20-minute sequence that ends inside a dark, silver mine. Using no dialogue – only images and sound effects – it’s a powerful intro-duction with an ominous warning to the brutality that later follows. Baumgartner

describes lighting that scene: “It was the very first scene we shot and it took place in a real, abandoned mine shaft at least 60 feet deep. We built a rig over the top of it with a truss; rigging a combination of the two ARRIMAX lights and ARRI 6K PARs to dig in all the way down into the bottom of the mineshaft. The light bounced off the walls to create a sort of skylight. That was the first time I had used the MAX lights on a film set. I thought it worked out very well.

The shoot took place over 14 weeks mainly in Marfa, Texas with some additional scenes shot around California. The dusty prairies where the production worked never posed a problem for the lighting fixtures, whether new or old. Baumgartner notes, “I’ve found throughout the years that ARRI has had the most reliable HMIs and electronics out of any of the manufacturers. We did not have one light go down the entire show – not one. Having these brand new lights out there, I had a very big concern that we might be a guinea pig in an experiment. Not once with the heat and beating sun, did they ever shut down on me. We had generators or cable runs overheat but not the lights themselves. That was really remarkable in that kind of environment, with so much dust and intense heat. I might add that I have an incredible Best Boy, Chris Milani. He and my crew were very diligent about blowing out the heads and ballasts. If you have ever worked with ARRI ballasts you know how easy that is – a couple of screws and the entire ballast opens like a book. You can blow it out, inspect the guts to see that nothing has melted or burned up in the heat. Chris and the guys did this at least twice week. It was a very important aspect to maintaining the lights in those conditions. Everything went off without a hitch.”

For Baumgartner, his experience on THERE WILL BE BLOOD was truly fulfilling personally and professionally. “Working with Paul Thomas Anderson was one of the greatest experiences of my career. To think he spent six years working to make this film. He has this infectious energy and you just want to be there for him; to do whatever needs to be done and try to do it with the care, intensity and focus he had – every-day on set. PTA is so into the process of filmmaking and tries to hire people that share his energy and enthusiasm. I’m so thankful he and Robert asked me to do this film. I love his movies and I would work for him and Robert again in a heartbeat.”

An Tran

Daniel Day-Lewis as “Daniel” and Dillion Freasier as “H.W.” star in Paul Thomas Anderson’s THERE WILL

BE BLOOD. Photo by Melinda Sue Gordon

Daniel promises wealth and prosperity to the small town through building an oil rig. Photo by Francois Duhamel

The dry, dusty landscape did not effect the performance of the lighting gear.

Photo by Melinda Sue Gordon

H.W. and Eli sit on the floor of the cabin.Photo by Francois Duhamel

The fortune of oil also brings pain and danger upon Daniel and H.W. Photo by Melinda Sue Gordon

Daniel attends service at the church

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Robert Elswit, ASC, Ben Nott, ACS and Glen Winter, CSC earned top honors in the three competitive categories at the 22nd Annual American Society of Cinema-tographers (ASC) Outstanding Achieve-ment Awards at the Hollywood & Highland Grand Ballroom on Jan. 26. ASC President Daryn Okada, ASC opened the ceremony with congratulations to ARRI, celebrating its 90th anniversary.

Cinematographer Ben Nott, ACS topped the movie/miniseries/pilot category at the American Society of Cinematographers Outstanding Achievement Awards for THE COMPANY, shot on the ARRIFLEX D-20. Actress Minnie Driver presented the award to Nott, saying, “Artful cinematography isn’t just about what the audience sees, it’s about what the images make people feel.”

Said the Australian cinematographer, “This is the highlight of my career and one of the highlights of my life.” He expressed grati - tude to the crews and also thanked ARRI for the camera package that was put to- gether for the dramatic account of the Cen- tral Intelligence Agency’s early beginnings. Nominees in his category included Oliver Bokelberg for the RAINES pilot, D avid Franco for the telefilm BURY MY HEART AT

Robert Elswit, ASC took top honors in the feature film category for his work on THERE WILL BE BLOOD.

Glen Winter, CSC accepts the top honors in the Episodic TV Category for his work on the “Noir” episode of SMALLVILLE.

Allen Daviau, ASC presents Annette Bening with the ASC Board of Governors Award.

Ben Nott, ACS accepts the award for Outstanding Achievement in Cinema tography in the Movie/Miniseries/Pilot Category for his work on THE COMPANY.

ASC Celebrates Art ful Cinematography

WOUNDED KNEE, Rene Ohashi, ASC, CSC for the telefilm JESSE STONE: SEA CHANGE and Michael Weaver for the PUSHING DAISIES pilot.

Glen Winter won the episodic TV com-petition for NOIR, an episode of SMALLVILLE.

“Cinematography for episodic television has evolved into a major art form,” said actor Ron Perlman who presented the award to Winter. “These artists have created feature film quality images on short schedules and with limited budgets, and they do this every day.” The other nominees in the episodic television competition were James L. Carter, ASC for HAPPY ENDING/CSI : CRIME SCENE INVESTIGATION, Eagle Egilsson for INSIDE OUT/CSI: MIAMI, Russell Lee Fine for ALL OF US ARE IN THE GUTTER/THE BLACK DONNELLYS and John Fleckenstein for WELCOME TO THE CLUB/ WOMEN’S MURDER CLUB.

“It’s exciting for me as an actor to partner in creating movies with such amazing artists,” said Casey Affleck, who presented the award in the feature film competition to Elswit for THERE WILL BE BLOOD. On the period drama THERE WILL BE BLOOD, the production em- ployed the first two A RRI MAX 18K HMI/PARs available in the U.S. to augment the film’s many daytime exteriors.

“The ASC picks the best, but I think it’s im- possible to decide. I’m really lucky,” Elswit humbly said as he accepted his win. Other contenders in the feature category included Roger Deakins, ASC, BSC for THE ASSASSI -NATION OF JESSE JAMES BY THE COWARD ROBERT FORD and NO COUNTRY FOR OLD MEN, Janusz Kaminski for THE DIVING BELL AND THE BUTTERFLY and Seamus McGarvey, BSC for ATONEMENT. ARRIFLEX cameras were employed on both the Deakins films and THE DIVING BELL AND THE BUTTERFLY.

The ASC Lifetime Achievement Award was presented to Stephen H. Burum, ASC by Caleb Deschanel, ASC. Burum earned ASC Outstanding Achievement Award nomi- nations for THE UNTOUCHABLES in 1988 and THE WAR OF THE ROSES in 1990. He took top honors in the annual ASC competi- tion along with an Oscar nomination for HOFFA in 1993.

The ASC International Award was given to Walter Lassally, BSC by Haskell Wexler, ASC. During the early 1960s, Lassally shot such visually innovative films as A TASTE OF HONEY, THE LONELINESS OF THE LONG DIS - TANCE RUNNER and TOM JONES. Lassally is credited with pioneering the use of ARRI- FLEX cameras on feature films, at a time

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Wo r l d w i d e7 2

Joel and Ethan Coen's contemplative thriller based on the Cormac McCarthy novel NO COUNTRY FOR OLD MEN won Best Motion Picture of the Year along with honors for direct- ing, adapted screenplay and supporting actor on Feb. 24th in Hollywood. The film gar- nered additional nominations in four other categories, including Best Achievement in Cinematography for Roger Deakins, ASC, BSC who also received a simultaneous nod for his work on THE ASSASSINATION OF J ESSE JAMES BY THE COWARD ROBERT FORD. Upon accepting the directing Oscar, Joel Coen spoke fondly of making movies during his childhood, “…what we do now doesn't feel that much different from what we were doing then. There are too many people to thank for this. We're really thrilled to have received it, and we're very thankful to all of you out there for letting us continue to play in our corner of the sandbox, so thank you very much.”

NO COUNTRY shot mostly on location for 10 weeks in Texas and New Mexico and marked the ninth collaboration for the Coen brothers and Deakins. The production relied on the ARRIFLEX 535B as the main camera and the ARRICAM Lite for handheld and Steadicam work. The rental house Illumination Dynamics (an ARRI Group company) provided the lighting package for Chief Lighting Technician Christopher Napolitano.

For Deakins, the film was a chance to bring a gripping morality tale to screen. Said the cinematographer, “Obviously, I was drawn to the film because of the Coen brothers. But the combination of the Coen Brothers and Cormac McCarthy’s wonderfully descriptive writing was an even greater draw. I love the Coen Brothers, especially their darker mate- rial, and I love the writing of Cormac McCarthy from the lyrical All the Pretty Horses to the poetic bleakness of Blood Meridian and The Road.”

NO COUNTRY FOR OLD MENWins Academy Award for Best Picture

Joel Coen and Ethan Coen pose with Oscar® winner Martin Scorsese backstage during the 80th Annual Academy Awards at the Kodak Theatre in Hollywood, CA on Sunday, February 24, 2008.

when they were used exclusively for news- reels and documentaries. He used hand- held cameras to amplify tension and differ- ent film stocks to differentiate emotional moods and underscore drama.

The ASC Career Achievement in Television Award was bestowed upon George Spiro Dibie, ASC. Dibie earned five Emmy Awards and seven additional nominations for multi-camera, episodic television series between 1985 and 1998. Dibie worked on six television series, which broke through the 100-episode barrier, beginning with BARNEY MILLER in 1975.

The ASC Presidents Award was presented to visual effects guru Richard Edlund, ASC and the ASC Board of Governors Awards was given to actress Annette Bening. One of the emotional highlights of the evening was a nod to the future when Vilmos Zsig- mond, ASC presented the ASC Laszlo Kovacs Heritage Award to Andrew M. Davis of Chapman University and Sean Stiegemeier from the American Film Insti- tute. This student award is re-dedicated annually to the memory of a cinemato-grapher who has made an indelible impression on the art of filmmaking.

The ASC was founded in January 1919, for the purpose of advancing the evolving art and craft of filmmaking. There are some 290 members today, and 150 associate members from allied sectors of the motion picture and television industries.

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Below: Joel and Ethan Coen with Roger Deakins

7 3Wo r l d w i d e

In late November 2007 a host of cinema-tographers, directors, students and film pro- fessionals descended on Lodz in Poland for the 15th annual Camerimage International Film Festival of the Art of Cinematography. Now an established fixture in the cinemato-graphy calendar, the event has a well-de-served reputation for generating a spirit of collaboration and openness. Creative artists at the height of their powers rub shoulders with those looking to break into the industry and share their knowledge at screenings, seminars and workshops.

ARRI had a considerable presence at the festival, being one of its principal sponsors, including a large exhibition stall in the grand theatre where ARRIFLEX D-20, ARRICAM Studio, ARRIFLEX 235 and 416 cameras were on display. There was great interest in new products such as the WRC-2 wireless remote control unit and the (rental only) 2-perf move- ment for latest generation 35mm cameras. At a separate stall was the ARRI Media Camstore, where accessory pouches, unit bags and Tiffen DFX filter software packs were on sale.Throughout the week ARRI also hosted a number of seminars and workshops pre- sented by a variety of guest cinematogra-phers as well as ARRI representatives. These were highly successful events and are summarised below in the form of a Plus Camerimage diary.

monday 26th November: ARRIFLEX 416 Workshop Opus Studios was the venue for this well-attended presentation. Sean Bobbitt, BSC, the BAFTA-nominated DoP of THE LONG FIRM and THE BAKER, led the 416 workshop, having used the camera recently on the TV miniseries SENSE AND SENSIBILITY. He was supported by Marc Ship- man-Mueller, Product Manager for cameras and lenses at ARRI, who provided insights into tech- nical aspects of the 416. Sean talked about the modular design of the camera and went through its various attributes and features. He described the advantages of using the 416 in combination with an ARRI Lightweight Zoom LWZ-1 and praised the optical viewfinder, which allows for the use of any 16mm or 35mm PL-mount lens without re- striction. In conclusion, Sean described how the 416 had “made my life easier as an operator and as a DoP” on the shoot and derided the HD vs. Super 16 argument, pointing out that there were good reasons for using both formats, depending on the project.

monday 26th November: ARRIFLEX 235 AdventuresMarc Shipman-Mueller then gave a talk on the various uses the lightweight 235 camera has been put to around the world, ranging from skydiver helmet-mounted shooting to 3D. Sean Bobbitt returned to the stage to describe his extraordinary adventures with the 235 in the Congo (see page 26).

Tuesday 27th November: 4k+ basics, Systems Theory for motion Picture ImagingDr. Hans Kiening, an ARRI specialist in the field of image analysis, gave this presentation in a packed seminar room at the Festival Centre. Ex- ploring the relationship between resolution and sharpness, the challenge of aliasing and the

intricacies of MTF, Hans laid out exactly what happens to images through both DI and tradi- tional lab-based postproduction pipelines (for more info see the 4K+ series of articles).

Thursday 29th November: DI PresentationARRI’s highly experienced digital colour grader Florian “Utsi” Martin took his audience at the Lodz Cultural Centre through various DI work- flows and explored how the associated technol- ogy is evolving. Covering topics such as digital acquisition and projection, colour consistency and improved 3D LUTs, Florian encouraged in- teraction from the audience and sparked some interesting discussions. Touching on recent im- provements to scanning technology such as in- frared, wet gate and digital dailies, he also talked about future developments including data-centric workflows, multiple-station grades and even internet grading.

Friday 30th November: The ARRIFLEX D-20 WorkshopHosted by Bill Lovell, Head of the Digital De- partment at ARRI Media in London and recent recipient of a BSC technical award for the ad- vancement of digital cinematography, this work- shop was held at the Opus Studios. Bill brought the audience up to date with the latest D-20 de- velopments before handing over to BAFTA-nomi- nated guest cinematographer David Higgs, who recently shot Guy Ritchie’s film ROCKNROLLA with the D-20. Issues such as FlashMag record- ing, data capture mode and log vs. linear were covered in the lead up to a practical demonstration on a set. Also speaking were Brian Gassney from Technicolor Creative Bridge, who demonstrated his company’s workflow links between produc-

PLUS CAMERIMAGE

Sean Bobbitt talking about the 235

Marc Shipman-Mueller (left) during the workshop

2007

74 Wo r l d w i d e

On December 5th 2007 the British Society of Cinematographers held its 56th

annual Operators Night at Elstree Film and Television Studios. BSC President

Gavin Finney hosted the event and welcomed the Guest of Honour, retired

television film critic Barry Norman, who entertained the audience with tales of

his conversations with the movers and shakers of the film world over the years.

BSC OPERATORS NIGHT 2007tion and post, and Steve Roach from S.two, who gave a brief overview of data capture workflows using S.two digital field recording systems.

Friday 30th November: Screening of ThE ComPANy and the ARRI PartyOn Friday afternoon ARRI screened the second part of director Mikael Salomon’s THE COMPANY, shot by cinematographer Ben Nott, ACS with ARRIFLEX D-20 cameras. Produced by Scott Free Productions and John Calley Productions in as- sociation with Sony Pictures Television and Tan- dem Communications, the miniseries traces the history of the CIA from the 1950s to the 1990s and stars Chris O’Donnell, Alfred Molina and Michael Keaton. Later in the evening ARRI hosted a dinner that drew together employees, corpo- rate guests, cinematographers such as Rodrigo Prieto, ASC,AMC, Karl Walter Lindenlaub, ASC, BVK, Michael Seresin, BSC and Edward Lachman, ASC, as well as directors including Roman Polanski. All in all, Plus Camerimage 2007 has been a tremendous success and ARRI is happy to have been involved again.

PLUS CAMERIMAGE

Sue Gibson, BSC toasted the Operators and David Worley, Associate BSC replied on behalf of the 185 diverse and distinguished guests. Among them was Roberto Schaefer, ASC, in London to prep Bond 22, accom-panied by his wife Caroline.

A Special Achieve- ment Award was presented to Marek Zydowicz and Kazik Suwala for the creation of the Camerimage International Film Festival of the Art of Cinematography in Poland. They had made the journey from Poland especially for the ceremony and were warmly greeted by the audience, many of whom attend the festival every year. The Charles D. Staffell Award for Visual Effects, donated by Kevin Francis, went to Nigel Stone, BSC for his achievements in the field of visual effects on films such as CHARLIE AND THE CHOCOLATE FACTORY and the HARRY POTTER franchise. Renos Louka of ARRI (GB) presented the ARRI John Alcott Award to Dennis Fraser, MBE in recognition of his years of service in the industry as a Key Grip - for setting up the Grips Guild Training Scheme, for the devel- opment of cranes and for his publication Manual for Crane Safety.Bill Lovell, ARRI’s Product Manager for Digital Cameras, received a Bert Easey Technical Golden Camera, as did Peter Swarbrick of Panavision, for their contributions to the ad- vancement and promotion of digital cine- matography. The evening was, as ever, an enjoyable one, with revelries continuing well past midnight.

Mark Hope-Jones

(to the left) Award Winners pose with Guest of Honour Barry Norman

Renos Louka of ARRI (GB) (right) presents Dennis Fraser, MBE with his award

Bill Lovell (left)

accepts his Bert Easey Technical Golden

Camera

Christ ian BürckstümmerOn January 12th, 2008 our dear colleague passed away following a lengthy illness. Christian Bürckstümmer

was one of those rare human beings who possess an encyclopedic knowledge in their field but manage to remain absolutely modest and free of condescension.A physicist by training, he began working at ARRI in 1986 and was since then committed to upholding the quality of the company’s products, especially those involving optics. ARRI has probably not introduced a single product in the past 20 years that has not in some particular detail been influenced by his expertise. Whether it be a mirror shutter or a viewfinder, or the various lens series that were developed in cooperation with Zeiss such as the Ultra Primes or the Master Primes – from the initial specifications to the final testing, Christian Bürckstümmer insured that ARRI’s high quality standards were never watered down.In addition, on almost every working day colleagues would drop by his office to seek

his assistance with their optical, physical or mathematical problems. It made no differ- ence whether the visitors were interns, pro- ject managers or company directors: Christian Bürckstümmer was always willing to help, usually with a certain degree of grum-bling over the disturbance but never seriously angry. If he could not answer a question (a rare occurrence) he was not one to try and cover this up with technical mumbo-jumbo. He would retire to his books or the internet, thoroughly research the subject and come back the next day with an answer that was truly airtight. A technical report with his name at the end was seen as a certified expertise even outside of ARRI.He loved his work and even as it became clear just how grave his illness was, ARRI remained one of his top priorities. We miss Christian Bürckstümmer as an esteemed col- league and a much-valued human being. Our thoughts are with his wife and his son. Dr. Hans Kiening / Michael Koppetz

75Wo r l w i d e

New subsidiary ARRI Asia to open in Hong Kong

ARRI Asia Ltd. will be opening on Hong Kong Island during the second quarter of 2008. Acting as a hub for established ARRI distributors in Asia, the new company will first and foremost work with such distributors to jointly market the existing ARRI product range.

Heading up the new subsidiary will be Paul Ivan, ARRI’s Manager of Business Development in Asia: “I spent a year and a half in Japan between 2005 and 2006 to get a deep insight into market and business practice and to establish the necessary relationships,” he says. “It’s not enough to just have sales guys in Munich – Asia is a highly dynamic market and we need to be there if we want to be part of it. Having a base in Asia will allow us to respond to the changing needs of the lighting, camera and DI markets. It will also help us explore new business such as industrial applications for our lighting products outside of the film industry.”

Ivan will assemble the ARRI Asia team and operate out of a showroom premises: “Our goal is to have a locally-staffed office,” he says. “We will be recruiting a team of Chinese and Asian employees who speak the language and understand how business works out there.” The premises will house a stock of ARRI equipment to increase the efficiency of supply to distribu- tors across Asia: “We want to support the market by shortening the supply distance,” he continues. “But the distribution channel will still run from ARRI Munich to distributors like Jebsen, Cine Equipment, NAC and Cheng Seng Trading. ARRI Asia will not be making direct sales to customers.”

Having equipment on-site will also make it easier to exhibit at trade shows around the Asian territories. “Additionally, ARRI Asia will be in a position to offer training and workshops for the distributors and also for clients all over Asia from its premises,” says Ivan. “Not just service training but also application – for lights, cameras, and DI equipment. The showroom will be a place that ARRI clients anywhere in Asia can reach within three or four hours, because Hong Kong is so centrally located.”

ARRI ASIA Ltd.Office No. 3B on 29/F. The Centrium,60 Wyndham Street, Central, Hong Kongphone: +852 9018 2066fax: +852 3755 6371EMail: pivan@arri.com

F.l.t.r. Alex Berkovic, who translated into Russian, Thomas Popp and Elfi Bernt (ARRI)

Kazakhstan has a rich tradition in

filmmaking. Be it on the historic side,

when Sergei Eisenstein shot the second

part of his famous IVAN THE TERRIBLE in

Almaty, or just recently when films such

as NOMAD and the Oscar®-nominated

MONGOL were produced in the country,

Kazakh filmmakers have a proven

ability to take strong steps into the

world market.

In close cooperation with Kazakhstan’s Chamber of Commerce and the Mark-II company, ARRI recently hosted a three-day seminar under the motto of ‘Creativity meets High Tech’. Thomas Popp, ARRI’s director of sales, and Elfi Bernt from the DI department presented all the latest technological achieve- ments in cameras and postproduction. Cine- matographers from Kazakhfilm Studio, local production companies, TV stations, and even visitors from Kyrgyzstan and other neigh-boring Central Asian countries attended.

ARRI has been actively involved in the Cen- tral Asian film industry for the last couple of years. Several projects have utilized ARRI’s lab services in Munich, made use of ARRI’s digital postproduction technologies, and rented out various ARRI camera systems and lenses. This perfectly reflects the global challenge facing not only creative filmmakers, but also equipment manufacturers as well.

Technical seminars and presentations will now regularly be held twice a year, due to the growing demand for information and dialogue. There are also plans to establish an authorized service center for ARRI prod- ucts in Almaty, serving all Central Asian countries, towards the close of 2008.

Alex Berkovic

ARRI Seminar in Kazakhstan

76 Wo r l d w i d e

416 Workshop

A fast-evolving market and a highly innovative company offering a range of film

and TV equipment: this was the perfect match realized when ARRI exhibited at

NATEXPO, Russia’s largest international exhibition of professional equipment for

television, radio and internet broadcasting. Small wonder that the ARRI booth

was a center of interest, presenting the latest technologies ranging from lighting,

through DI, to the new 416 and 235 ARRIFLEX cameras, the top-of-the-line digital

film-style D-20 camera and the new professional camera accessories.

Lighting specialists drew some fresh inspiration from the LED background illumination for projection foils in TV studios, the ARRI PCS 2100 positioning control system and the new ARRI scenery hoist – all of these being shown for the first time in Russia.

Specialists from Ostankino, one of the largest TV studios in the world, were especially in- terested in ARRI Lighting Solutions’ expertise in designing and equipping studios.Of course, ARRI is no stranger to the Russian market, but 2007 turned out to be a particularly good year and a perfect chance to present certificates to the most successful system inte- grators in the market: Sila Sveta and OKNO-TV gladly accepted awards from ALS Managing Director Sigrid Müller. Oleg Antipov and Igor Glanyenko, directors at OKNO-TV and Sergey Kalinkin, Managing Director of Sila Sveta, are all very positive about the expanding market, especially for lighting products that bear the ARRI label.

On the occasion of the show a project was already agreed upon with OKNO for a new studio (350 m2) for the very popular state-run Russian TV station Svesda (The Star). The new Studio will be completely equipped with ARRI lighting technology – ARRI Junior, Studio, ARRI Cool and ARRI Cyclo fixtures, as well as barrel hoists and the control system.Together with Sila Sveta, ARRI has previously designed TV studios for the Russian parliament (the Duma) and also in Moscow’s Media City. Sergey Kalinkin of Sila Sveta – making refer- ence to the fact that Sila Sveta means ‘power of light’ – pointed out that even though the company has been in business for only three years, it is already among the most powerful in the Russian industry. The driving force behind this success is attributable, in part, to the close and open cooperation with ARRI.Norbert Wunderlich

University of Television and Film HFF in Potsdam

Hands-on – is there any quicker way to make people understand new technology? Well, yes, if you combine it with a compe- tent introduction that sheds light on the his- tory of the system and its technical develop- ment. Small wonder that Marc Shipman- Mueller, product manager at ARRI, had the full attention of students at the HFF in Pots- dam – despite adverse conditions like a rail- road strike, transportation problems (due to that strike) and delays.Two ARRIFLEX 416 cameras were available for testing and the students took full advan- tage of the chance to do so during the breaks. The testers were very impressed by the low noise level at all speeds and also by the vast possibilities opened up by the high resolu- tion of current film stocks.

Gray is all theory. That was reason enough for Dr. Hans Kiening from ARRI to transform the quite theoretical sounding topic “What does resolution mean in film and pixels” into something the attendees could grasp instantly, using displays, visual examples, a tape measure and characteristic congeniality.

During the lunch break the students were able to test the cameras in shoulder configuration in the great hall of the HFF campus. Subse- quently, the loading and unloading of film was tested in four groups – a challenge the students were well equipped to meet by their previous experiences with the ARRIFLEX SR 2.

Michael Zeisse

ARRI at NATEXPO

7 7Wo r l d w i d e

ARRIRentalGermany

ARRIMedia

ARRIAustralia

LONG WEEKEND Arclight Films Jamie Banks Karl von Moller ARRIFLEX D-20, ARRIFLEX 235, Ultra Primes

MCLEOD'S DAUGHTERS - Millennium Television Various Henry Pierce ARRIFLEX 416, ARRIFLEX 16SR 3, Zeiss Highspeed Lenses, SERIES 8 Zeiss Zooms

NICE COWBOYS Arena Films Ben Phelps John Brawley ARRIFLEX 435, Ultra Primes

REXONA 8 Commercials Eden Matt Stewart ARRIFLEX 416

SHERIDAN 8 Commercials Tim Gibbs Garry Philips ARRIFLEX 235, Master Primes

TELSTRA 9MM Nicole Ryan Matt Stewart ARRIFLEX 416

THE LAKES Synergy Films Jeff Hogan Jeff Hogan ARRIFLEX 435, Ultra Primes

THE PACIFIC First Division Pty Ltd Tim Van Patten, Remi Adefarasin ARRIFLEX 235, ARRICAM LT, LDS Ultra Primes Carl Franklin, David Nutter

CHAMPIONS Lichtspiele GmbH Riccardo Signorell Felix von Muralt ARRICAM ST/LT, Ultra Primes

DER UNTERGANG DER DDR Olga Film Thomas Berger Gero Steffen ARRIFLEX 16SR 3, ARRIFLEX 16SR 3 HS, ARRIFLEX 435 Advanced, Zeiss T1,3, Variable Primes, Lighting, Grip

WüSTENBLUME Desert Flower Filmproductions Sherry Hormann Ken Kelsch ARRICAM ST/LT 3-Perforation, Lighting, Grip

GEGEN DEN STROM TV60Film Jan Fehse Philipp Kirsamer ARRICAM LT 2-Perforation, Ultra Primes, Lighting, Grip

JOHN RABE Hofmann & Voges Florian Gallenberger Jürgen Jürges ARRICAM ST/LT 3-Perforation, Master Primes

MäNNER LüGEN NICHT Crazy Film Bettina Woernle Peter Zeitlinger Lighting, Grip

MORD MIT AUSSICHT Pro GmbH Christoph Schnee Johannes Kirchlechner ARRIFLEX 416 Plus, ARRIFLEX 16SR 3, Ultra Primes, Lighting, Grip

STREET FIGHTER - THE Hyde Park Films Andrzej Bartkowiak Geoff Boyle ARRICAM LT 3-Perforation, ARRIFLEX 435 Advanced LEGEND OF CHUN LEE 3-Perforation, ARRIFLEX 235 3-Perforation, Zeiss T1,3

THE LOVELY BONES DWNZ Productions Ltd Peter Jackson Andrew Lesnie ARRICAM LT, 435 Advanced, ARRIFLEX 235, 16,5-110mm Master Zoom

THE READER The Weinstein Company Stephen Daldry Roger Deakins, Chris Menges ARRICAM ST/LT 3-Perforation, Master Primes, Lighting, Grip

QUANTUM OF SOLACE EON Marc Forster Roberto Schaefer ASC ARRICAM ST/LT, ARRIFLEX D-20, 235, 435, Master Primes

GREEN ZONE Compound Films Ltd Paul Greengrass Barry Ackroyd BSC ARRICAM LT, ARRIFLEX 235

EASY VIRTUE Easy Virtue Ltd Stephan Elliott Martin Kenzie ARRICAM ST/LT

THE CHILDREN Tightrope Pictures David Evans David Luther ARRIFLEX D-20

THE BOAT THAT ROCKED Working Title Films Richard Curtis Danny Cohen ARRICAM LT, Ultra Primes

SLUMDOG MILLIONAIRE Slumdog Films Ltd Danny Boyle Anthony Dod Mantle ARRICAM LT, Ultra Primes

SHARPE'S PERIL Picture Palace Tom Clegg James Aspinal ARRICAM ST, Ultra Primes

BOY MEETS GIRL ITV/Granada Sean van Hales ARRIFLEX D-20, Zeiss 2,1s

ARRICSC

BART GOT A ROOM Bart Got a Room LLC Hallvard Braein ARRIFLEX 16SR 3 ARRI CSC FLA

KINGS OF APPLETOWN 415 Crystal LLC/OAK Films Daniel Pearl ASC ARRICAM LT 3-Perforation, ARRIFLEX 235 3-Perforation ARRI CSC FLA

RECOUNT 35 Days Inc. Jim Denault ARRIFLEX 416, ARRIFLEX 16SR 3 ARRI CSC FLA

30 ROCK NBC Vanja Cernjul Jerry DeBlau ARRICAM LT 3-Perforation ARRI CSC NY

THE WRESTLER Off The Top Rope Inc. Maryse Alberti David Skutch ARRIFLEX 416, ARRIFLEX 16SR 3 ARRI CSC NY

TREE OF LIFE Cottonwood Emmanuel Lubezki ASC ARRICAM 4-Perforation, ARRIFLEX 235, Master Primes ARRI CSC NY

AMERICAN GLADIATORS AM GLAD Prods Various Oscar Dominguez Automated Lighting Illumination Dynamics

AMERICA'S BEST DANCE CREW Daft Productions Various Oscar Dominguez Automated Lighting Illumination Dynamics

AMNESIA Mark Burnett Various Oscar Dominguez Automated Lighting Illumination Dynamics

THE BACHELOR AND Syndicated Various Oscar Dominguez Conventional and Automated Lighting Illumination Dynamics

THE BOX Utopia Planitia Prods. Steven Poster, ASC Elan Yaari Lighting Illumination Dynamics

MY DAD IS BETTER THAN YOUR DAD Better Prods. Various Oscar Dominguez Automated Lighting Illumination Dynamics

NAACP AWARDS Vic Angelos Films Various Don Morgan Conventional and Automated Lighting Illumination Dynamics

PROM NIGHT Original Film Checco Varese Danny Eccleston Automated Lighting Illumination Dynamics

SPREAD Katalyst Films Steven Poster, ASC Elan Yaari Lighting, Grip Illumination Dynamics

THE SOLOIST DreamWorks Seamus McGarvey, BSC Randy Woodside Lighting Illumination Dynamics

STATE OF PLAY Universal Rodrigo Prieto, ASC, AMC Robby Baumgartner Lighting Illumination Dynamics

TARBELL REALTY EVENT Tarbell Manny Treason Conventional and Automated Lighting Illumination Dynamics

TROPIC THUNDER DreamWorks John Toll, ASC Randy Woodside Lighting Illumination Dynamics

ARRISound NORDWAND Dor Film West

ANONYMA Constantin Film Produktion

EFFI BRIEST Constantin Film Produktion

HEXE LILLI blue eyes Fiction

KRABAT Claussen+Wöbke+Putz Filmproduktion

RäUBER KNEISSL Wiedemann & Berg Filmproduktion

THE CRADLE Al Reef Art Production

DAS DUO - ECHTE KERLE TV60Film

DIE JAGD NACH DEM SCHATZ DER NIBELUNGEN Dreamtool Entertainment

KOMMISSARIN LUKAS Olga Film

MOGADISHU WELCOME teamWorx

SALZ IN DER SUPPE TV60Film

SüDEN II Moovie the art of entertainment

UMBRA MORTIS Lisa Film

Title Production Company Director DoP Equipment

Theater Release TV Release

Title Production Company Director DoP Equipment

Title Production Company Director DoP Equipment

Title Production Company DoP Gaffer/Lighting Designer Equipment Serviced by

7 8 S e r v i c e s

ARRILightingRental

ADULTHOOD Adulthood Limited Noel Clarke Brian Tufano BSC Rob Pye Rob Pye

BOOGIE WOOGIE Boogie Woogie Limited Duncan Ward John Mathieson BSC Alan Martin Terry Montague

DEAN SPANLEY Atlantic Film Productions Toa Fraser Leon Narbey Tom Gates Toby Flesher

GREEN ZONE Compound Films Lmited Paul Greengrass Barry Ackroyd BSC Harry Wiggins Ian Franklin S. Odonaghue

HE KILLS COPPERS Ecosse Tv Productions Ltd. Adrian Shergold David Odd BSC Tom Gates Toby Flesher

HOLBY BLUE 2 Red Planet (holby) Ltd. Martin Hutchings, Jim Loach, Ian Ligett, John Daly BSC, Jo Allen C. Schmidtholstein Menhaj Huda Stephan Perhsson

HUNGER Blast Films Steve McQueen Sean Bobbitt (BSC) Brian Beaumont Ian Glennister

LIBERTY (Liberty) Ltd. Brendan Maher, Fabian Wagner Dave Mansfield Ross Chapman Mat Whitecross, Toby Haynes

SILENT WITNESS X11 BBC Diamuid Lawrence, Alex Pillai, Kevin Rowley, Alan Almond BSC, Micky Brown Dave Owen Sue Tully D. Clemence, P. Butler, N. Probyn

SPOOKS 7 (spooks) Ltd. Colm McCarthy Damien Bromley James Summers Richard Potter

THE BOAT THAT ROCKED Frigate Films Limited Richard Curtis Danny Cohen Paul McGeachan Pat Miller Will Kendal

THE CHANGELING Size 9 Productions Ltd. Sarah Harding David Higgs Dan Fontaine John Walker

THE CHILDREN Tightrope Pictures David Evans David Luther Mark Clayton Benny Harper

THREE AND OUT Rovinge Motion Picture Company Jonathan Gershfield Richard Greatrex BSC Peter Goddard John Diamond

ARRIDI/VFX

ANONYMA Constantin Film Produktion Max Färberböck VFX, DI Benedict Neuenfels

DON QUICHOTE - GIB NIEMALS AUF! Roxy Film Sibylle Tafel VFX Klaus Merkel

FEUERHERZ TV60Film Luigi Falorni VFX, DI Judith Kaufmann

FRECHE MäDCHEN collina filmproduktion Ute Wieland VFX, DI, Title Peter Przybylski

UMBRA MORTIS Lisa Film Urs Egger VFX Martin Kukula

DER UNTERGANG DER DDR Olga Film Thomas Berger VFX Gero Steffen

VALENTIN Hofmann & Voges Jo Baier VFX Gunnar Fuss

ZWERG NASE Kinderfilm GmbH Felicitas Darschin VFX, Title Axel Block

Title Production Company Director Services DoP

Title Production Company Director DoP Gaffer Rigging Gaffer Best Boy

ARRILab-TVDrama

ALLE ANDEREN Komplizen Film Maren Ade Bernhard Keller

DAS FüNFTE GEBOT UFA Film & Medienproduktion Ulrich Zrenner Anton Peschke

DER UNTERGANG DER DDR Olga Film Thomas Berger Gero Steffen

DöRTES DANCING Rat Pack Filmproduktion Andi Niessner Bernd Neubauer

FLAME & CITRON Wüste Medien GmbH Ole Christian Madsen Jørgen Johansson

GEFüHLTE XXS Hager Moss Film Thomas Nennstiel Reiner Lauter

HANAMI Olga Film Doris Dörrie Hanno Lentz

JINGLE ALL THE WAY Brainpool TV Tobi Baumann Uwe Schäfer

LIPPELS TRAUM collina filmproduktion Lars Büchel Jan Marsik

MAMMOTH Zentropa Entertainments Berlin Lukas Moodysson Marcel Zyskind

MORD IST MEIN GESCHäFT, LIEBLING! Rat Pack Filmproduktion Sebastian Niemann Gerhard Schirlo

NIKOLAUS IM HAUS Aikon Media & Technology Gaby Kubach Thomas Etzold

PERLMUTTERFARBE d.i.e. film Marcus H. Rosenmüller Torsten Breuer

ROSAMUNDE PILCHER - PFEILE DER LIEBE FFP New Media John Delbridge Nicholas Joray

SALZ IN DER SUPPE TV60Film Matthias Steurer Michael Boxrucker

THE COUNTESS X Filme Creative Pool July Delpy Martin Ruhe

THE PALERMO SHOOTING Wenders Images Wim Wenders Franz Lustig

WEIHNACHTEN IN KALTENTAL ndF Ulrich König Ludwig Franz

WHISKEY MIT WODKA Senator Film Andreas Dresen Andreas Höfer

WüSTENBLUME Desert Flower Filmproductions Sherry Hormann Ken Kelsch

ARRICommercials

Allianz SE AGCS CONSTRUCTION BBDO Berlin GAP Films Charley Stadler Fraser Taggart

ARD ICH WEISS, WER GUT FüR DICH IST Xynias, Wetzel Werbeagentur e+p commercial München Christian Ditter Christian Rein

Bayerisches Sozialministerium SCHLUSS MIT DEM UNSINN Brainwaves KG darkofilms Andreas Grassl Winnie Heun

Cortal Consors JET Serviceplan Serviceplan Philipp Geigel Philipp Geigel

Henkel KGaA PRIL BALANCE "YING YANG" TBWA Düsseldorf e + p Brita Mangold Brita Mangold

Holsten CASTLE BBDO Moscow made in munich filmproduktion David Wynn-Jones David Wynn-Jones

Kellogg FILMTEAM Leo Burnett Helliventures Markus Goller Brita Mangold

Kraft Foods JACOBS BALANCE JWT Frankfurt Hager Moss Film Louis van Zwol Rutgar Storm "FLIGHT ATTENDANT"

McDonald's Deutschland GmbH HüTTENGAUDI 2008 Heye & Partner FRAMES filmproduktion Badly Andreas Berger

Mercedes Benz DRIVING EXPERIENCE "FACES" King Khalil Hager Moss Film Jens Junker C. Stangassinger

playmobil FRüHJAHR 2008 None e + p Reiner Holzemer Peter Aichholzer

SevenSenses GmbH SLAM TOUR MIT KUTTNER - SevenSenses Adam Glauer Ole Reuss

Williams F1Team RACE ACTION 2008 R.TV Film & Fernsehen Baronfilm Tobias Heppermann Thomas Stocowski

Title Production Company Director DoP

Customer Title Agency Production Company Director DoP

7 9S e r v i c e s

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Alex Berkovic, Elfi Bernt, Harald Brendel, Anouschka Fiedler, Bob Fisher, Roman Gadner, Greg Gasson, Thorsten Hauer, Mark Hope-Jones, Mark Horton, Dr. Hans Kiening, Dodo Lazarowicz, Rich Lock, Thomas Luther, Sibylle Maier, Karl von Moller, Keith Read, Peter Rothnie, Mathias Schoeningh, Marc Shipman-Mueller, An Tran, Norbert Wunderlich, Claudia Wutzke, Michael ZeisseArtwork: Jochen Thieser, add cooperation Uwe Heilig Mediendesign, Matthias Griessel, SCPrinted 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.

Expo Calendar 2008

These are the most important exhibitions where you can find out about ARRI products and services

2008

April 14 – 17 NAB Las Vegas

May 28 – 31 Koba Seoul

June 17 – 20 Broadcast Asia Singapore

June 20 – 21 CineGear Los Angeles

August 12 – 14 Siggraph San Diego

September 12 – 16 IBC Amsterdam

September 20 – 22 cinec Munich

October 17 – 19 Broadcast India Mumbai

October 24 – 26 LDI Las Vegas

November 05 – 08 BIRTV Beijing

November 19 – 21 Interbee Tokyo

November_December 29 – 06 Camerimage Lodz

Key ContactsDirector Sales Thomas Popp +49 - (0) 89 - 38 09 – 1289 tpopp@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 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 Rädlein +49 - (0) 89 - 38 09 – 1970 hraedlein@arri.de

ARRI Film & TV Services Sound: Bernd Clauss +49 - (0) 89 - 38 09 – 1810 bclauss@arri.de

ARRI Lighting Solutions Sigrid Müller +49 - (0) 30 - 678 23 30 smueller@arri.de

ARRI (GB) Ltd., Don Harris +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 (NY) Simon Broad, Hardwrick Johnson +1 - 212 - 757 - 0906 sbroad@cameraservice.com hjohnson@cameraservice.com

ARRI CSC (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, Sebastien Laffoux +1 - 4 16 - 2 55 33 35 seb@arrican.com

ARRI Italia, Antonio Cazzaniga +39 - 02 - 26 22 71 75 acazzaniga@arri.it

ARRI Australia, Stefan Sedlmeier + 61 (2) 9855 4300, + 61 (2) 9855 4301 ssedlmeier@arri.com.au

ARRI ASIA Ltd., Paul Ivan +852 9018 2066, fax +852 3755 6371 pivan@arri.com

www.arri.com

ARNOLD & RICHTER CINE TECHNIK GmbH & Co. Betriebs KG Türkenstr. 89 · D-80799 München phone +49 - (0) 89 - 3809-0 fax +49 - (0) 89 - 3809-1245

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