N E W S

A R R I L A S E R

A R R I U LT R A P R I M E S

I s s u e 0 5 / 2 0 0 1

A R R I C A M S T + L T

A R R I L U X P O C K E T PA R 2 0 0 + 4 0 0

A R R I S U N E V E N T 2

3 0 F o c u s P u l l e r c u t s U m b i l i c a l C o r dThe Wireless Lens Control System

3 1 S u b - Z e r o

A R R I l i g h t s u p C a m p a r i

3 2 A B i r d ’s - E y e V i e w

3 6 „ L i g h t k e e p s m e c o m p a n y “A Documentary about Sven Nykvist

3 8 H a p p y B i r t h d a y E r i c h K ä s t n e r

3 9 R a o u l C o u t a r d – a w o r t h y P r i z e - W i n n e r

4 0 A R R I M E D I A W O R L D S A L E S

B R O T H E R

4 1 M a k e t h e M a g i c H a p p e n

S u r i y o t h a i – T h a i l a n d ’s b i g g e s t F e a t u r e F i l m

4 2 S h o r t a n d s w e e t – Q u i e r o S e r r e c e i v e s a n O S C A R

A D r e a m o f C h i n a

4 3 B l a c k H a w k D o w n

4 4 A S e l e c t i o n o f c u r r e n t P r o d u c t i o n s

0 4 T h e A R R I C A M S y s t e m

0 6 N e w I V S I I f o r t h e A R R I F L E X 4 3 5

0 7 A R R I F L E X 4 3 5 A d v a n c e d

A R R I M O T I O N

C a r l Z e i s s / A R R I U l t r a P r i m e s

0 8 A Ye a r o n – A R R I L A S E R i n F r a n c e

1 1 A R R I L A S E R i n S p a i n

A R R I L A S E R S e r v i c e Tr a i n i n g

1 2 T h e R e t u r n o f t h e R u s h e s

1 3 L O C P R O 3 5 L a b 2 2 0 0 i n O p e r a t i o n

1 4 A R R I L U X P O C K E T PA R S y s t e m

1 6 A R R I S U N 2 E V E N T S Y S T E M

1 7 M a s e r a t i i n t h e r i g h t L i g h t

1 8 A l l T h e Q u e e n ’s M e n

2 2 R o m a n C o p p o l a ’s „ C Q “A visit to the Delux Studios Luxembourg

2 4 A R R I L I G H T S o n N e w Yo r k ’s S t r e e t s

2 6 T I M E C O D EAlive and well in Chicago

2 7 A R R I L i g h t s i l l u m i n a t e t h e S c e n eAt Sundance’s Filmmaker’s Lab

2 8 B a n d o f B r o t h e r s

2 9 A R R I t a k e s t o t h e S k i e sWith Aerial Cinematographer Jeremy Braben

C O N T E N T S

News from

A R R I

Alfred Schopf Franz Kraus Max Welz

The ARRICAM system, which premiered at last fall’s cinec, has just completed its first field tests underproduction conditions with flying colors. ARRI is confident that the two new camera models will fullymeet the high expectations of the market. The first units will be available to our customers by the endof the second quarter of this year.

ARRI’s preparations for going public are in full swing – the transformation to a joint-stock company isplanned before the end of the year.

As a part of these preparations, changes have been made in ARRI’s management. Managing directorMax Welz has retired from the active management per 31 March 2001 after over 55 years of serviceto the company. We thank Mr. Welz for his unflagging drive and his deep commitment to ARRI. Hisenergy, expertise and personal effort played a significant part in the success of the ARRI Group.

Since 1 April 2001, ARRI has a new CEO: Alfred Schopf. The 44-year old management expert wasformerly managing director of Jenoptik and most recently financial director of Telesens AG. AlfredSchopf views his new task at ARRI with great commitment: ”Working for a company like ARRI, that isso rich in tradition and at the same time internationally oriented, is a challenge that I look forward to.My foremost objectives will be to grasp new market opportunities and to push forward innovativetechnology without losing touch with the traditional values of ARRI such as highest quality, reliabilityand technological leadership.

Franz Kraus, who has been with ARRI since 1983, remains managing director. Together with AlfredSchopf, he will join the board of directors of the future ARRI Corporation.

P.S. The OSCAR for best cinematography this year went to Peter Pau for the film CROUCHING TIGER,HIDDEN DRAGON, which was filmed with ARRI Group cameras. From us here at ARRI, congratulationsto Peter Pau and his team.

4

September 2000. The cinec was the eventthis year which most moved film-makers –quite literally: over 6000 visitors came fromall over the world to see, among other things,the new ARRICAM system which was shownto the public for the first time. There was acrowd comparable to that for the Crown Jewels in the Tower of London – the differencebeing that the ARRICAMs with their exten-sive range of accessories weren’t only behindglass: during the three days of the show,workshops were held, personal hand-on demonstrations were given, and above allmany interesting conversations were held,bringing new suggestions for series develop-ment. A large proportion of this input has al-ready been put into practice over the pastmonths.

A clear sign of the unbroken faith in the medium of film with its supreme quality and

unrestricted choice of lenses: seen this way,the introduction of the ARRICAM system isalso a kick-off for a new decade in film, whichis how long the product cycle of a film cam-era system, and therefore the security of theinvestment, normally lasts.

Of the numerous suggestions received atthe show, the following have already beenintegrated into the system:The viewfinder of the ARRICAM Studio wasoptimised for use with the magazine on top,and can easily be pivoted to the other sideof the camera even in this set-up. Notches in11° steps offer further comfort. In additionthe ARRICAM system was even better inte-grated into the existing ARRI product range,and not just in terms of colour.The Lens Data Display was made smallerand the operating elements were well inte-grated in the housing. The cable connections

The ARRICAM Systemof the Lens Data Box now exit the equipmentat the bottom, a contribution to safe andlogical cabling. The Speed Box was consid-erably simplified in its user interface. Speed-ramp settings, iris and shutter compensationcan be carried out more easily and quickly.The In-Camera Slate Box for the ARRICAMStudio and Lite is now a single unit whichcan be used for both cameras.

We would like to take this opportunity to ex-press our thanks for the interesting discussionsand suggestions – and to ask for more – atthe NAB, where the complete ARRICAMsystem is shown in a series version!

For the latest info on the ARRICAMs please checkour website:www.arri.com/entry/products/arricam.htm

Otto Nemenz and Denny Clairmont

Robert Arnold and Fritz Gabriel Bauer

Victor Kemper, Dr. Walter Stahl, George Spiro Dibie (f.l.t.r.)

Roger Deakins, Angela Reedwisch,Franz Kraus (f.l.t.r.)

DoP Roger Deakins

ASC president Victor Kemper

George Spiro Dibie and Andrew O. Thompson (ICG)

6

• Better colour settingBoth the red and blue channel can be set individually, enabling colour reproduc-tion to be optimally adapted to workingconditions.

• Optimized image resolution during camera runWith the new electronics, missing fieldscan be regenerated, enabling an imagequality close to full resolution. The imageappears very steady on the monitor.

• New “film-like” exposure modeThe video assist camera can optionallybe set to the same shutter time as the filmcamera itself. In this way, the same timeresolution can be attained on the recordedvideo image as on the film.

• Flicker-free OFFIn time-critical situations, the frame-storecan optionally be switched off in order to eliminate any delay between the live-action and its depiction on the video monitor.

• Flicker-free from 1fps to150 fpsIn Manual Gain Control Mode.

• Saving settingsUp to 6 settings can be stored and recalled,making available various user-definedsettings for different shooting situations.

• 1.1 Amp power supply from the mini-monitor output.

• Full remote-controlAll functions including gain control andwhite balance can now be remote-con-trolled via the serial interface.

• Y/C output on the mini-DIN and BNCsocketsThe Y/C signal is now available alterna-tively from a mini-DIN socket (standardcable) or from the BNC sockets (2 BNC-cables) on the back of the IVS. This meansthat in Y/C operation one of the two sock-ets is immediately a pure black & whiteoutput.

• More robust design.

The IVS 435 II replaces the previous versionand is now deliverable.

Please check also our websitewww.arri.com/entry/products/ivs_2.htm

Technical Data:

Weight: ~ 670 g /1.47 lbs.

Power Consumption: ~ 11 Wsupplied internally through the camera body

Input: Composite or Y/C as GEN lock

Output: Composite (1 Ypp, 75 Ohm, Syncnegative) with or without Inserter,respectively Y/C with or withoutInserter

IVS PAL consisting of:Video electronics PAL K2.47365.0Optics Silent K2.47230.0Optics Academy K2.47231.0

IVS NTSC consisting of:Video electronics NTSC K2.47366.0Optics Silent K2.47230.0Optics Academy K2.47231.0

New IVS IIfor the ARRIFLEX 435 A new improved IVS is now available for the ARRIFLEX 435. Carrying on

the successful design of earlier models, the new IVS 435 II is also

integrated into the camera body without the need for additional cabeling

but now offers some exciting new advantages:

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28

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32

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The advantages of the ULTRA PRIMES lenses in summary:• Maximum contrast and resolution over

the entire focal range.• Super-Colour-Matched – unified colour

characteristics over the entire focal lengthrange.

• Uniform position of the scales.• The scales can easily and clearly be read

from both sides, as can the focal length.• Scales can be easily exchanged between

meters and feet.• Uniform overall length of the main focal

lengths.• Uniform weight of the main focal lengths.• Service-friendly modular design with easily

exchangeable front and back elements.

C a r l Z e i s s ARRI Ultra Pr imesThe uniform design principle also offers therental house many advantages: a high levelof modularity simplifies service and reducesnecessary maintenance equipment and spareparts stock.

The entire lens set comprises the focal lengths:10 mm | 12 mm | 14 mm | 16 mm | 20 mm24 mm | 28 mm | 32 mm | 40 mm | 50 mm65 mm | 85 mm | 100 mm | 135 mm | 180 mm

For more information on the Ultra Primes check ourwebsitewww.arri.com/entry/products/ultra.htm

The Ultra Primes, available since May 1999,have now been further complemented by thefocal lengths 12 mm, 65 mm and 180 mm.The 65 mm lens will be available from May,the 12 mm and 180 mm lenses with the highspeed T 1.9 aperture by the end of the year.The Ultra Primes lens set will then comprise15 focal lengths, thereby offering the largestselection in a single lens range.

The ARRIFLEX 435 Advanced was develop-ed to meet the most demanding requirementsof today’s production methods. Comprehen-sive accessories and new interfaces allowthe camera to be perfectly integrated in alarge variety of applications – from motioncontrol to in-camera effects with speed ramps,not to mention classic second-unit appli-cations, which profit from the particularlycompact design. Using the electronicallyadjustable mirror shutter, exposure programscan be created and, with the push of a singlebutton, recalled. A newly designed, high-performance shutter drive cuts adjustment time in half, allowing for much quickerspeed-ramps. The new minimum frame ratehas been reduced to 0.1 fps. Additionally, a

ARRIFLEX 435 Advanced

Single Frame/Capping Shutter is availablethat can also be accessed and controlleddirectly through the motion control software.The reworked IVS II defines the new standardof quality for video taps. The PL-Mount isprepared for the Lens Data System that wasdeveloped for the new ARRICAM genera-tion of cameras.

A R R I M O T I O N ARRIMOTION finally gives directors and the DoP’s the freedom to workwithout pre-programmed moves and still be able to create and execute perfect, high quality visual effects shots.The system – based on an ARRIHEAD – offers a multitude of technical possibilities yet is easy to operate. Whilethe camera is running, the ARRIMOTION precisely records all camera movements and lens adjustments andcan replay them later at any speed.

To find out more about the ARRIMOTION System, visit the ARRI booth at NAB or point your web browser at www.arri.com/entry/products/motion.htm

The ARRIFLEX 435 Advanced utilizes allthe possibilities of the existing modular 435camera system but incorporates a completelynew electronic design, a modified mirrorshutter drive and an interface for externalmotion control systems.

Please check also our websitewww.arri.com/entry/products/arriflex.htm

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8

GTC

TCP: You have been using the ARRILASERfor a year. How does it fit into your equip-ment range and what effect does it haveon your activities in the area of digitaltransfer to 35 mm film?

Daniel Borenstein: The ARRILASER hasestablished a place for itself: initial prob-lems due to PC-NT compatibility in ourUNIX-environment have been solved. But I had expected the integration to be easier.We no longer have any difficulties. Due tothe speed of the ARRILASER we have be-

In January 2000 the first ARRILASERs were installed in France – at GTC in Joinville-le-Pont and

at DUBOI in Boulogne. To date the number of ARRILASERs in France has increased to seven:

GTC, DUBOI (2), LTC, ECLAIR (2), MIKROS. Jean-Louis Deriaz and Yves Clanet of TCP, ARRI’s

French agent, took the opportunity to speak to the first users, Daniel Borenstein of GTC

and Rip O’Neil of DUBOI about their experiences.

ARR I L ASER in FranceA Year on –

Daniel Borenstein

LE PACTE DES LOUPS

come much more flexible than we werewith previous equipment, particularly inthe area of high resolution images from2048 upwards, or HD-TV.

TCP: What do you most often use the ARRI-LASER for?

D. B.: Because of the high quality require-ments, it is of course used a lot on advertis-ing clips, but if we consider pure quantity,it is used more for animation and specialeffects. At GTC we don’t create these ef-fects ourselves – we work with specialistsin these areas. They then benefit indirectlyfrom the ARRILASER’s performance. We

9

also transfer complete animated films crea-ted on the computer to 35 mm film. Overthe next days we will start work on the film L’ANGLAISE ET LE DUC by Eric Rohmer.These are our main activities with the ARRI-LASER.

TCP: Has the first year confirmed your choiceof the ARRILASER?

D. B.: Definitely. The machine’s performanceconfirms my investment decision. Speed,quality of transfer and flexibility are excel-lent. In over eight months we have had nomajor problems. The ARRILASER recordsconsistently and without a hitch.

TCP: What are your plans for 2001?

D. B.: We are already working on severalanimated films. A very important animatedfeature will begin in summer and take usthrough to late 2001 or early 2002. Aswell as that, I already have two feature filmprojects for 2002 (also animated films). Asyou know, we have our own very popularvideo to film transfer system, which is stillin use. But we are close to our capacity limits, so now some of our work is done onthe ARRILASER. Additionally, we havesome projects which are predestined forthe ARRILASER, especially digital color-imetry and associated tasks. This is still avery new market and we don’t yet knowhow it will develop long-term. The ARRI-LASER is (as is the Spirit Datacine Scannerat the other end of the chain) one of themachines which have enabled digital colortiming of films. That’s a technological rev-olution in a certain sense. We hope towork on at least four or five feature films in 2001, and it would of course be nice ifit were more.

TCP: Do you have any suggestions for further development?

D. B.: I, and I’m sure many other ARRI -LASER users, are expecting the develop-ment of a driver for Unix or Linux, as I havealready suggested.

DUBOITCP: Just six months after starting operationwith your ARRILASER, you have now boughta second machine. What caused this fastgrowing demand?

Rip O’Neil: We suddenly had requests toproduce entire full-length feature films.Here we transfer complete 600 m filmrolls.And of course we don’t want to interruptour normal working routine for special ef-fects etc. As exposing 600 m filmstock cantake 20 to 30 hours, a second ARRILASERwas a necessity if we didn’t want to blockour other work. Meanwhile both machinesare continuously in use.

TCP: How do you see your long-term needs?

R. O’N.: On feature film productions I expect a growing demand. One reason isthe process “Duboi Color” which we offer,a real-time color timing with digital projec-

tion. This project began in June 2000 – soits successful introduction is still recent. Ourpossibilities to process complete featurefilms have of course increased significantlyas a result, and our needs will subsequentlyalso increase.

At the moment we are fully booked 24hoursa day and our ARRILASERs are permanentlyin use. The quality we achieve encouragesthe customers to often order several prints,i. e. original intermediate negatives, in order to ensure flexibility and a consistentquality for series prints. We print the imagesdirectly onto intermediate negatives or inter-mediate positives. Some customers evenorder three intermediate negatives and anintermediate positive for the complete film –that makes 49 rolls à 600 m per film! Thatadds up to many hours of film for the ARRI-LASER.

TCP: You completely produced LE PACTEDES LOUPS by Christophe Gans?

R. O’N.: On LE PACTE DES LOUPS we digit-alised all the shots and processed the color. The final color timing was carriedout on our “Duboi color” system. Three intermediate negative versions and anintermediate positive version were printed.

1,000 ft or 2,000 ft magazines with auto-feed and

auto-cut-off mechanism for quick and easy film handling

Scanner cube with projection lens 35 mm film gate with integrated sensor technology

10

Some figures: If you expose nine rolls à600 m on the ARRILASER, that makesapproximately 225,000 frames per print,or between 22 and 30 hours per roll. Soin total approximately 250 hours of ARRI -LASER use!

TCP: Without wanting to pry, may we knowwhat kind of projects you get?

R. O’N.: Our production is very varied: exposing complete feature films, specialeffects – one of Duboi’s main areas – andwe prepare transfers, i. e. we transfer fromvideo to film. We also get several 30-se-cond advertising clips and transfer mate-rial to D.V..

A feature film comprises at least six rolls à600 m. Using the earlier figures you caneasily calculate that about 60 % of our ARRILASER work is on feature films and40 % special effects and other work. At the moment we aren’t yet doing many filmrestorations as we are mainly specialisedin special effects, colour correction and general post-production activities. But filmrestoration is an interesting market whichstill has to develop.

TCP: The ARRILASER offers many optionstoday: a high-speed module for 2 K, anHD-TV module, a native Academy module.Your machines have been re-equippedwith all these options. Which ones do youcurrently use most frequently?

R.O’N.: All of them really, but most frequent-ly the 2 K high-speed module together withthe HD-TV module, which helps us toachieve images of excellent quality veryfast. At 225,000 frames, a half or a full second time saved per frame adds up tomany hours! On both machines we use allthe options: 4 K, 2 K, Academy, Full, HD-

TV … and in all image formats. The onlyoption we haven’t yet used is the 3-perfmodule. So far our customers haven’t shownany need for it.TCP: What are your wishes for the future?

R.O’N.: The ARRILASER is a fantastic ma-chine which we appreciate very much atDUBOI. The machines previously in usewere much slower and took almost 25 se-conds per frame. With the ARRILASER,we take slightly under 4 seconds. The differ-ence is enormous. With our two machineswe are working at a totally different level.It’s another world. My wishes for the futurewould be that the machines would workeven faster. Because contact printing of negatives is unfortunately still much faster,even though 30 hours’ production time isalready a lot better than the entire weekwhich we used to need. A lot better. If wecould get it down to 24 hours, or even less – that would be my dream.

And if I can wish for something else, thatwould be Unix/Iris/Linux/Qnx as well asthe NT-platform. I think that would add tothe stability of the system.

TCP: Thanks to Daniel Borenstein and RipO’Neil for the interview.

Jean-Louis Deriaz, Yves Clanet

By late 2001, ten ARRILASERs will be in use in France.

Currently the following labs are equipped with an ARRILASER (31.01.01):

• DUBOI (M. Rip O’Neil) 221 bis, bld Jean Jaurès – 92100 Boulogne (2 units)• ECLAIR (M. Christian Ninaud) 8/16, avenue de Lattre de Tassigny – 93801 Epinay Cédex • GTC (M. Daniel Borenstein) 1, quai Gabriel Péri – 94345 Joinville Cédex• LTC (M. Daniel Sellier) 147, boulevard de Sémard – 92210 Saint-Cloud• MIKROS (Nathalie Bellego) 120, rue Danton – 92300 Levallois

LE PACTE DES LOUPS

In mid February, service technicians fromARRI’s agents in Australia, Great Britain,Korea, Spain and the USA came to Munichfor an ARRILASER service training. Herethey had the opportunity to learn all poten-tially necessary maintenance work, fromthe adaptation of the software for specialoptions, the optical adjustment of the com-

ponents, to replacing the lasers. They wereable to discuss in detail and then carry outall service jobs themselves. A subsequentquality control of the equipment confirmedthe success of each participant’s work. It isnow ensured that all necessary servicingcan be carried out quickly and competentlyon site. The service locations in Australia,

ARRILASER Service Training

Digital Hires became ARRI’s agent for theARRILASER in Spain and Portugal in July2000. Digital Hires has been supplying thegraphics and audio-visual market with digi-tal colour systems and CRT recorders forthe past 10 years. Manager Carlos Sucho-wolski: “With the ARRILASER, we havenow consciously moved into the high-endarea of digital image processing, and indoing so, we wish to underline our involve-ment with the film medium in the future.”La Luna de Madrid Digital was the first

Korea and Spain are new, thus furtherstrengthening the presence of ARRILASERservice.

For more information on the ARRILASER pleasecheck our website :www.arri.com/entry/products/laser.htm

customer Digital Hires supplied with anARRILASER. In time for the company's60th anniversary, Alain Coffier was able toinstall the film recorder in his premises. Cof-fier says: “We are pleased that we have thefirst ARRILASER on the Iberian peninsula.”

La Luna de Madrid Digital belongs to theMadrid Film Lab Group that is the leadinglaboratory in Spain. 60 years’ traditionand experience is combined here with themost modern equipment, including three

Digital Telecines for all standard formatsand options (Super 35, Keycode, D1, NT-SC etc.) and one Cine Scanner for 35 mm.Madrid Film will also open another lab inCatalonia in the near future: El Laboratori de Barcelona Film.

Digital HiresE-mail: dhires@dhires.com

La Luna de Madrid DigitalE-mail: alain.coffier@madridfilmlab.com

ARRILASERin Spain

Carlos Suchowolski, Alfonso Aguirre,Alain Coffier (f.l.t.r.)

Han In-cheol,Salil Mukhesjee, Sung-goo Jang, Angel Jimenez, Kevin Irvin, Sibylle Maier,

Dieter Schmidt, Claus Albach (f.l.t.r.)

Alain Coffier and Carlos Suchowolski

12

Joe Dunton of Joe Dunton & Company con-verted a crane trailer into a sumptuous cinema aptly named “The Screening Room”complete with bar and popcorn machine!The trailer measures 28 ft long ∞ 8 ft wideand can be hooked up and transported tothe same places you would tow a caravan.

On location it seems to have many advan-tages. The crew are able to view the rusheseither in their lunch break or at the end of abusy day. Due to the fact that “The Screen-ing Room” is already set up means there isno need to leave the location to find a labo-ratory or theatre, which invariably costs time and money.

Joe explains how he approached this newproject. “We had only five days to completethe task. It was imperative that the ARRILOCPRO 35 was placed a certain distancefrom the screen to ensure the correct illumi-nation level. We then built a 7 ft 6” curvedscreen at one end of the trailer. This wascarefully calculated so that the viewinggeometry was the same as that at the EmpireLeicester Square in London.”

“We carpeted the entire trailer and sound-proofed the ceiling. Surround sound speakerswere installed to emulate the viewing expe-rience of the audience in the cinemas. Thenwe added the finishing touch by installingthe bar and popcorn machine.” Joe added“There are six comfortable leather seats infront of the LOCPRO 35. Behind, there isroom for another ten people. The floor is

built up, for ease of viewing for the peoplein the back rows.”

The LOCPRO 35 is being used increasinglyon location around the world. However,this is the first time it has been used with its prototype Anamorphic attachment on location, a great success by all accounts.This now enables all current film format rushes/dailies to be viewed on location.Any Location.

Joe Dunton & Company are already under-way building a larger second trailer meas-uring 30 ft ∞ 8 ft 6” wide, this time with an8 ft wide screen. What next? A mobile cinema complex in a double decker bus?

Don Harris

For more information on the ARRI LOCPRO 35 pleasecheck our website:www.arri.com/entry/products/locpro.htm

Imagine sitting in the comfort of a heated or air-conditioned

cinema, viewing the days rushes without leaving the location.

This has now become reality for Director Harold Becker, Director

of Photography Michael Seresin and Producer Jim Dyer

on the set of the new anomorphically shot John Travolta film,

DOMESTIC DISTURBANCE.

The cinema in the trailer

Inside the trailer: the comfortable cinema

The Return of the Rushes

13

Once the color timing is resolved and thedigital images are completed, the film dailies are produced and again viewed inregular 24 fps projection speed on theLOCPRO.

An additional feature of the LOCPRO isthe ¹⁄₃ " CCD color-video pickup. As soon asthe film dailies are approved by the variousmembers of the production group, RichCrest’seditors create a video dub from the dailies.This tape is then digitized back into the studio’s Avid film composer in order to createa final-editing decision list.

RichCrest Animation recently used theLOCPRO 35 on two Warner Bros. Produc-tions, THE KING AND I and the upcomingTHE SCARECROW, as well as Columbia Tri-star's THE TRUMPET OF THE SWAN.

Franz Wieser

A major component of RichCrest’s work in-volves the color alignment of scanners, com-puter systems and output devices, along withthe assessment of color accuracy when digi-tal images are finally output to film. This iswhere the LOCPRO becomes handiest – asa quality inspection tool. Once the digitalimages are created, one frame of everyscene is recorded onto film. Using simplelight-meter readings, RichCrest technicianscan set up the LOCPRO so the projected

image matches the brightness of a regulartheater projection screen – image size is notimportant for this application. The LOCPRO’sfeatures of single-frame transport and freeze-frame projection enable the director andcolor stylist to assess the color accuracy ofeach scene without incurring the cost of film-ing out each scene in its entirety. This initialcolor-timing test helps reveal problems in an early production stage, resulting in greatsavings of both time and expense.

Located in Los Angeles, California, RichCrest Animation is a traditional

animation studio, and a frequent user of the Location Projector LOCPRO 35.

Instead of using the LOCPRO as it was originally intended, as an

on-location viewing device, Tom Tobin, VP of Studio Operations, uses the

LOCPRO as a stationary projector in Rich-Crest’s digital workroom.

Lab 2200 in OperationLOCPRO 35

A R R I L U X P O C K E T PA R System

200 400Photometric Data

POCKET PAR 200, 10 ft (3 m):

SUPER SPOT ~ 4,860 fc (54,000 lux) Beam Angle ~ 6°

NARROW FLOOD 10° min Focus ~ 1,170 fc (13,000 lux) Beam Angle ~13°

max Focus ~ 594 fc (6,600 lux) Beam Angle ~ 20°

FLOOD 25° min Focus ~ 554 fc (6,150 lux) Beam Angle ~ 20°

max Focus ~ 185 fc (2,060 lux) Beam Angle ~ 40°

SUPER FLOOD 50° min Focus ~160 fc (1,770 lux) Beam Angle ~ 46°

max Focus ~ 76 fc (850 lux) Beam Angle ~ 67°

FROSTED SUPER FLOOD min Focus ~ 108 fc (1,200 lux) Beam Angle ~ 39°

max Focus ~ 51fc (570 lux) Beam Angle ~ 60°

POCKET LITE 200, 10 ft (3 m):

14° Spot ~ 810 fc (9,000 lux)

60° Beam Angle ~ 117 fc (1,300 lux)

70° Full Flood ~ 85 fc (950 lux)

Building on the ARRILUX125 POCKET PAR’ssuccess ARRI now introduces the POCKETPAR 200 and 400 lighting system, and anew EB 400/575 Electronic Ballast.

A very wide range of accessories expandsthe possibilities of these compact and robustsystems. A dichroic coated glass mirror reflec-tor reduces the beam heat and guaranteesmaximum performance. With its “cool beam”the heat radiation for persons or objects isreduced to a minimum. A focusable beamand five color coded converter lenses providea complete coverage from 5° to 60° halfbeam angle.

For news gathering or field production whereportability is the key, ARRI has designed thelensless POCKET LITE. Using the standardlamp housing ARRI has added high qualitylensless reflector systems with focus ability.With the POCKET LITE 200 the beam anglecan be adjusted from 14° to 70° with thePOCKET LITE 400 from 15° to 90°. At 10 ft(~3m) the POCKET LITE 200 delivers 810 fc(9,000 lux) in full spot and approx. 85 fc

(950 lux) in full flood, the POCKET LITE 400at 15 ft (~ 5 m) 795 fc (7,150 lux) in spotand 53 fc (480 lux) in full flood.

Both the POCKET PAR 200 and thePOCKET LITE 200 are available withsnap-on or with traditional drop-in accesso-ries. The 400’s with drop-in version only.

Information on the web under:www.arri.com/entry/products/poc_par.htm

15

POCKET PAR LIGHTHOUSEThe POCKET PAR L IGHTHOUSE is de-signed as an accessory – a circular shuttersystem with the ability to project a very narrow beam, or an even field up to 160°.

The clear lamp cap delivers a bright evenfield for hard lighting applications, the frosted lamp cap a smooth and softer field.Frosted lamp caps are used on their ownwith Chimeras or Chinese Lanterns or withARRI’s L IGHTHOUSE accessory.

The ARRISOFT Reflector, used with thefrosted lamp cap turns the POCKET PAR400 into a soft source with a 100° beamangle.

Information on the web under:www.arri.com/entry/products/poc_par.htm

EB 400/575The new Electronic Ballast EB 400/575was specially developed to accompany thePOCKET PAR 400. It’s lightweight designwith 3 kg (6.6 lbs) and its small size make ithighly portable. Yet ARRI’s unique aluminiumextruded housing is tough enough for theharshest location conditions.

The EB 400/575 can be operated in all posi-tions and easily mounted to a stand or truss.

With Active Line Filtering for Power FactorCorrection the EB 400/575 guarantees minimised power consumption and safeoperation.

DMX 512 control for ON/OFF and dim-ming is optional.

Information on the web under:www.arri.com/entry/products/poc_par.htm

Photometric Data

POCKET PAR 400, 15 ft (5 m):

SUPER SPOT ~ 4,447 fc (40,000 lux) Beam Angle ~ 5°

SPOT 10° min Focus ~ 2,134 fc (19,200 lux) Beam Angle ~ 8,5°

max Focus ~ 755 fc (6,800 lux) Beam Angle ~ 16°

NARROW FLOOD 10° ∞ 20° min Focus 922 fc (8,300 lux) Beam Angle ~ 10° ∞ 21°

max Focus 445 fc (4,000 lux) Beam Angle ~ 19° ∞ 26°

FLOOD 20° ∞ 45° min Focus 363 fc (3,270 lux) Beam Angle ~ 17° ∞ 35°

max Focus 122 fc (1,100 lux) Beam Angle ~ 41° ∞ 55°

SUPER FLOOD 50° min Focus 198 fc (1,780 lux) Beam Angle ~ 36°

max Focus 85 fc (770 lux) Beam Angle ~ 60°

FROSTED SUPER FLOOD min Focus 111 fc (1,000 lux) Beam Angle ~ 39°

max Focus 58 fc (520 lux) Beam Angle ~ 54°

Technical Data EB 400/575

Lamp Power: 400 W or 575 W

Dimming: yes

DMX Control: Option

Low Noise Switch: no

Input Voltage: 90 –130V/180 – 250V AC

Frequency: 50/60 Hz

Input Connector Wirring: 1P; N; PE (single phase)

Nom. Input Current: 7.1 – 4.9A /3.6 – 2.6A (eff)

Input Apparent Power: 640 VA max.

Input Real Power: 627 W max.

Power Faktor: 0.98

Efficiency: 0.88 min.

Dimensions:

Height: 91 mm (3 V")

Width: 155 mm (6")

Depth: 270 mm (10 F/I")

Weight: 3.0 kg (6.6 lbs)

Features of the POCKET PAR System at a Glance

• Versatile light shaping• Unmatched light output in all variations• Compact design• Facetted cold light reflector• High colour rendition Ra > 90• Smooth even lighting field• Colour coded SNAP ON or DROP IN-

lenses• New UV-glass protection switch system

(patent pending)• Anti reflection coated UV-protection glass• One-hand Spot - Flood adjustment from

the hand grip• New set converter lenses dia. 112 mm• CTO Filter glasses available• Existing ARRI Electronic Ballast

EB 125/200; EBB 125/200 and 200 EBcan be used

POCKET LITE 400, 15 ft (5 m):

15° Spot ~ 795 fc (7,150 lux)

60° Beam Angle ~ 103 fc ( 930 lux)

90° Full Flood ~ 53 fc (480 lux)

The key to the ARRI EVENT System is theimproved cable management offered bythe new EB 200 EVENT-NINE electronicballast. Nine 200 Watt ballasts packagedin a single 19" rack supply nine lamp-heads with only one multicore cable andsplitbox.

The electronic ballasts use Active Line Filter-ing (Power Factor Correction) to minimisepower consumption and to prevent over-loading of the power supply. Each ballast

pack is dimmable to 50 % and controlledindividually or via DMX 512.

Multiple rack mountable EB 200 EVENT-NINE ballasts can be mounted in a 19"EVENT Rack Cabinet complete with pow-er distribution. Combination in rack cab-inet with EB 575 EVENT-SIX ballasts ispossible.

ARRI EB 200 EVENT-NINE packs can also be mounted in custom designed cases.

Features

• Unmatched light output• High color rendition Ra > 90• Smooth, even lighting field• No spill light• External lamp lock• Quick release door catch for lamp

changing• Colour coded DROP IN lenses• Lampheads available in silver and black• Standard ARRISUN 2 accessories

Super Spot 3,112 fc (28,000 lux) 5° SpotSpot max. focus

1,112 fc (10,000 lux)667 fc (6,000 lux)

8°12°

Narrow FloodNarrow Flood max. focus

556 fc (5,000 lux)333 fc (3,000 lux)

10° x 22°17° x 25°

The ARRI EVENT Lighting system has been expanded with the introduction of the new ARRISUN 2 EVENT System. ARRI

has optimised the EVENT 2 lamphead with a faceted cold-light glass reflector and spill light baffles to provide high

colour rendition and low heat transmission. The 200 Watt daylight system is perfect for lighting both product and talent.

ARRISUN 2 EVENT SYSTEM

Technical Data

Lamp power:

Dimming:

DMX control:

Low noise switch:

Input voltage:

Frequency:

Input connector wiring:

Nom. input current:

Input apparent power:

Input real power:

Power factor:

Efficiency:

Dimensions:

Height:

Width:

Depth:

Weight:

Max. ambient temperature:

Electronic Ballast EB 200 EVENT-NINEfor 19" Rack Mount

9 ∞ 200 W

yes

yes

no

90 – 265 V AC (P-N)

50/60 Hz

3P; N; PE (3-phase)

7.8 – 2.6 A (eff. each phase)

2,100 VA max.

2,050 W max.

0.98

0.88 min.

177 mm (7")

484 mm (19")

583 mm (23")

22 kg (48 lbs)

60° C

EVENT Rack Cabinet for 230 V (8 x EB 200 EVENT-NINE)

72 ∞ 200 W

yes

yes

no

190 – 265 V AC (P-N)

50/60 Hz

3P, N; PE (3-phase)

29.5 – 21.1 A

16,800 VA max.

16,400 W max.

0.98

0.88 min.

2,045 mm (80 V")

608 mm (24"), – Door open 660 mm (26")

750 mm (29 V")

340 kg (748 lbs)

–

EVENT Rack Cabinet for 120 V (8 x EB 200 EVENT-NINE)

72 ∞ 200 W

yes

yes

no

105 – 265 V AC (P-N)

50/60 Hz

3P, N; PE (3-phase)

53.3 – 21.1 A

16,800 VA max.

16,400 W max.

0.98

0.88 min.

2,045 mm (80 V")

608 mm (24") – Door open 660 mm (26")

750 mm (29 V")

340 kg (748 lbs)

–

Photometric Data at 15 ft (~5 m) Distance:

17FloodFlood max. focus

200 fc (1,800 lux)89 fc (800 lux)

17° x 35°41° x 50°

Maserati – the name alone causes many car enthusiasts’ pulse to race.To further increase the attraction of its products, the automobile industryis investing in sensational presentations. This is very noticeable at theautomotive shows. More and more manufacturers are contracting lightingdesigners to advise them, asking them to light the cars in an excitingway rather than to just flood them with light. This trend is most obviousin the choice of lighting fixtures: in the past years there has been a clearmove from tungsten to daylight fixtures.

Renato De Marco, lighting designer from Turin, has specialised in auto-motive lighting. For several years he has followed the lighting conceptfor events of the “Gruppo Maserati” and other Italian manufacturers.Last December he used ARRI Event luminaires for the first time at theBologna Motor Show. ADM Rental from Turin supplied and installedthe 24 Event-5-luminaires. De Marco created lighting compositionswhich had previously been possible only with tungsten theatrical fixtures.With the Event-system he was able to create a production which furtherenhanced the design of the cars. And Maserati confirmed the successtotally: they used the 575 W and 1,200 W luminaires again at the Geneva Automotive exhibition.

Antonio Cazzaniga

Maseratiin the r ight Light

Flightcase for the ARRI EB 200 EVENT NINE

• All electronic ballast modules with Power Factor Correction (PFC)

• Flicker free• Optimised cable management• DMX 512 controled electronic ballast• Dimming to 50 %• Ballast cabinet with built in power

distribution• Combination in rack cabinet with

EB 575 EVENT-SIX ballast

Information on the web under:www.arri.com/entry/products/arrisun.htm

All the Queen´s MenThat ARRI’s name should appear in the credits of international film projects is nothing unusual.

ALL THE QUEEN’S MEN however, was the first major international feature film in which all ARRI Services

without exception were involved: from camera and lighting rentals through lab, studio, sound,

video to ARRI Digital Film – a real “One-Stop-Shop”!

19

The producer is Marco Weber of AtlanticStreamline in Los Angeles, represented by the German company Streamline Film-produktion in Cologne, co-produced byB.A. production. The director is Stefan Ruzowitzky who is known for the film pro-ductions DIE SIEBTELBAUERN and ANATOMIE.DoP Wedigo von Schultzendorff shot thefilm in Super-35 for Cinemascope.

ALL THE QUEEN’S MEN is a comedy set inthe war-year 1944. Four English secretagents come to Germany in order to stealthe Enigma, a coder/decoder. In the onlyfactory in which the machines are manufac-tured, there are only female employees.During a bomb attack on Berlin, the agentsparachute into Berlin disguised as women,find the factory, steal the Enigma and flyback to England after a wild shoot-outwith a JU 52.

The ARRIFLEX 535 and 435 were used,the latter mainly for special shots that werelater electronically processed – and ofcourse due to its ability to shoot up to 150frames per second. The ARRIFLEX 765was on the set on some days. The new ARRIUltra Prime lenses were also used. A com-plete wireless control enabled focusing aswell as wireless video transfer – an enormoushelp, not just when working with a crane.

“This is where ARRI could demonstrate its particular strength of being able to reactquickly and simply to special customerwishes”, says Clemens Danzer: “For exam-ple, we configured a portable Watchmanso that it exactly met the cameraman’s re-quirements. With our own workshop andour service technicians we can quicklyand competently react to such individualrequests. Particularly on a production like this which demands a higher standard,you often can’t just use equipment ‘off the shelf ’.”

Worthy of mention is also the T-Rex-System,an optical system which enables many optical tricks – such as rotating the frame360° without moving the camera body. “Itworks simply via the lens. At the same timeyou can adjust the snorkel-lens into variousangles, thereby achieving various cameraperspectives without the hassle of movingthe camera”, explains Clemens Danzer.

One of the most technically interestingshots was created with the ARRIFLEX 765:in the finished film you see an airstrip withfour JU 52 aeroplanes. For reasons of timeand money it was impossible to get holdof several aeroplanes of the same type forthe shoot on Lake Balaton. So we had torely on the creativity of the visual effectscrew. The whole thing was carried outamong others by Klaus Wuchta. He ex-plains the take: “Various static takes wereshot – the camera set up and then the JU 52put into place. Then we repositioned theJU 52 for a new take until we had the var-ious positions of the machines which couldthen be combined digitally. In shooting thiswas very difficult to coordinate becausewe had two different scene types: a quietsituation and then a very hectic situation,an air-raid with much more activity – sev-eral jeeps, soldiers and a total of approxi-mately 30 extras were in shot.”

But that wasn’t all: they needed a camerapan shot. The available negative surfaceand resolution for a camera pan are criticalin Super-35. For this reason they decidedto use the ARRIFLEX 765. The imageswould be digitized in higher resolution toallow for some performance reserve to digitally zoom into the image and create apan shot. It was only because of the largernegative surface and digital technologythat these two shots were possible at all,and it also led to a reduction in costs on set.

In four other shots, extras were “duplicated”.Henning Rädlein, Visual Effects Supervisorat Atlantic Streamline: “It’s often advan-tageous if you only need half the numberof extras. You shoot them once in position 1

Wedigo von Schultzendorff, Henning Rädlein, Stefan Ruzowitzky, Joachim Grüninger (f.l.t.r.)

20

and again in position 2 and then join thetwo. “Saving 60 extras” means for ex-ample casting 60 fewer people, and alsosavings in costs for make-up, costumes,production etc.”

The film contains many shots which withoutdigital tricks would have been either impos-sible, or at best very time-consuming andexpensive to shoot. The numerous effectsand green-screen sequences were pro-cessed by ARRI Digital Film. “However”,emphasises Henning Rädlein, “it is a clas-sical production which is not overloadedwith effects. It is a major feature film whichhas a total of about 80 digital shots.”

To return to the airstrip: before shootingbegan, the position of the aircraft wasdetermined in layouts. A 3D-model of theaircraft was created by ARRI Digital Filmemployee Michael Grobe. During a walk-over on the set, it was photographed,measured and the timing and separationlines of the individual takes was set, whichlater made filming and the director’s workmuch easier.

A scene at the start of the film was alsovery complex, showing a night bomberattack on Berlin. The squadron of EnglishLancaster-bombers (created by 3D artistAlex Schott) flies over the landscape to-wards Berlin where it drops its fatal bombs.Henning Rädlein describes producing theseimages: “We created Berlin as a three-di-mensional matte painting. Michael Grobecreated a huge city in 3D on the computer,and inserted real filmed fire and explosionsinto it. The aeroplanes in the sky (also com-puter-generated), anti-aircraft fire, lights etc.

created a very realistic war setting. Thenext day we see in daylight the city stillburning, and the sky dark from smoke andfire. Later in the film there are views froma tower looking down on the destroyed city. For these shots the Munich model-ma-king company Magicon made the minia-tures on a scale of 1:24 which we integratedinto the images. Photos which I had takenin Budapest, retouched by film compositorLutz Lemke formed the basis for the mattepaintings.” 3D was also used here, to pop-ulate streets with 3D animated cars andpeople.

Post-production: after shooting on Super 35the negative was separated in the ARRIlab into print and non-print, and everyday film and video rushes were produced.ARRI also provided a mobile Avid, first inBudapest and then in Vienna, on whicheditor Andrea Schumacher was able toedit during shooting. For digital processingselected negatives were taken out and digitized on the new Imagica scanner atARRI. This scanner is high-speed and hasperfect image steadiness. With the Imag-ica it is possible to scan in resolutions upto 4 K. On some shots of ALL THE QUEEN’SMEN this high resolution was needed.

After approving editing, the entire film wasscanned on the Spirit-Datacine in 2 K filmresolution (1920 ∞1080), integrating allthe digitally processed shots. The digitalmaster produced was then colour-correctedand any necessary retouching carried out.Then the credits were added to the film.The finely corrected digital master was ex-posed on an ARRILASER recorder for usefor the release prints: a digital Cinemascopenegative was produced.

DoP Wedigo von Schultzendorff

Stefan Ruzowitzky and Marco Weber

Marco Weber and Miggel Schwickerath

Digital colour-correction offers very goodpossibilities to compensate colour inconsist-encies caused by weather problems, andit also allows good integration of visual effects shots.

The production steps at DIGITAL LAB differsomewhat from normal lab final processing,where printing is done from the original negative onto an intermediate positive andthen an optically ‘squeezed’ anamorphicnegative is created. At the DIGITAL LABthe entire Super-35-negative is scannedand an anamorphic negative is digitally recorded onto film. Henning Rädlein: “Ofcourse later you can’t see that the entirefilm has been through the computer.”

A further product in the digital film chainis not just exposure, but also the creationof several video-versions in PAL for Euro-pean television standards and in NTSCfor America. This means that at ARRI thefilm negative and the video mastertapesfor all television standards are createdfrom one digital data file. An important aspect in digital final processing, particu-larly when, as in ALL THE QUEEN’S MEN,very many subtitles in various languageversions have to be used. This would makepost-production in the lab very complex.And at DIGITAL LAB the work is alwayscarried out on the first generation since print-ing onto intermediate materials is not done.

The demands on the sound post productionwere also above average: due to the Eng-lish-language shoot and the fact that thefilm is set partly in England and partly inGermany, a lot of dialogue and backgroundlanguage had to be recorded for the origi-nal version. Over 500 takes were recorded

digitally in London, Los Angeles and Munichat ARRI, some on Hi-8, some directly inAudiovision, to enable them to be combinedwith the original takes on the computer.

An ADR-coach from England was very help-ful. Sound post-production and design isbeing managed by Andreas Biegler (filmsinclude TARZAN, ENEMY AT THE GATES).

On approximately 160 soundtracks, effects,background atmospherics and other record-ed sync sound (soundmaker – foleyartist Jo

Fürst) are currently being prepared by thesound editors for mixing. The one-weektemp-mix for the distributor screenings pro-vided useful insights on how sound can keepthe balance between action and comedy.

Mixing will be carried out by ARRI’s sound-engineer Max Rammler-Rogall (films includeDAS EXPERIMENT, THE CALLING).

Angela Reedwisch, Henning Rädlein, Jochen Hähnel

Producer:Marco Weber

Production:Atlantic Streamline, Santa Monica

Director:Stefan Ruzowitzky

Line Producer:Miggel Schwickerath

DoP:Wedigo von Schultzendorff

Visual Effects Supervisor Streamline:Henning Rädlein

Effects Supervisor (miniatures):Joachim Grüninger, Magicon

ARRI:Rental: Thomas LoherLab:Production manager: Sepp Reidinger,Gottfried ReiseckerLighting designer: Andreas LautilSound:Sound engineer: Max Rammler-RogallDigital Film:Visual Effects Supervisor: Alex Lemke3D Animation: Frank Dürschinger,Michael Grobe, Alex SchottAssistant 3D: Nicole IversenColorist Digital Lab: Birgit SteffanTechnical Coordinator Digital Lab:Holger SpillFilm Compositing:Flame and Shoot coordination: Klaus WuchtaCineon/Shake: Florian Martin, Lutz Lemke, Christian Zeh

Software used for digital processing:Cineon, Shake and Flame for2D film compositing.Maya for 3D animation.After Effects and Photoshopfor matte paintings etc.Spirit Datacine from Philipsand Pandora PiXi HD ColourCorrection for DIGITAL LAB.Digitizing and colour-correctionof the entire film from 35 mm negative in 1920 ∞1080.Imagica Digital Filmscanner for high-resolution scenes (up to 4 K).ARRILASER for exposing on35 mm intermediate negative(Cinemascope format).

Shooting of the miniatures took place in the large ARRI studio (660 m2) with Magicon/Magicmove as miniature-maker and ARRI cameras. DoP for the miniature shots was Britta Mangold.

A L L T H E Q U E E N ‘ S M E N

22

“CQ”Roman Coppola’s:

Luxembourg has made a name for itself in the international film world over the last years through

favourable production conditions, and above all due to the tax-shelter law – a state subsidy for projects

realised in Luxembourg. Films like AN AMERICAN WEREWOLF IN PARIS and SHADOW OF THE VAMPIRE

were produced here.

A vis i t to the Delux Studios Luxembourg

The new studio premises of Delux Productionsin Contern, located near the business-centerof the neighbouring Luxembourg, cover10,500 sq.m (~113,000 sq ft). The complexcomprises four large film studios rangingfrom 428 sq.m. (~ 4,600 sq ft) to1225 sq. m.(~13,200 sq ft). The studios have a height ofup to 10.5 m (~ 35 ft), which offers enoughaction space for professional film produc-tions. In the 400 sq. m. (~ 4,300 sq ft) largeworkshop-area, props and studio sets canbe created for any project imaginable. Pro-duction offices, make-up rooms, wardrobeand many other facilities – even a restau-rant – are situated in a further 2000 sq. m.(~ 21,500 sq ft) area. Delux is one of the largest production companies on site. Man-aged by Jimmy de Brabant, it belongs to theRTL-Media Group. The dedicated business-man has been in the film industry since1976and has worked on projects such as PARIS,TEXAS by Wim Wenders and LA BELLE CAPTIVEby Alain Robbe-Grillet. Later he negotiatedfilm-rights before becoming managing direc-tor of the “Paris Studio Billancourt”. Beforetaking over the management of Delux, he wasinvolved in building up a European studiofor Disney. Since starting his activities forDelux, he has co-produced projects such asPeter Greenaway’s THE PILLOW BOOK and8 ¹⁄₂ WOMEN, as well as SHADOW OF THEVAMPIRE.

Delux can look back on an impressive seriesof productions: projects like AN AMERICANWEREWOLF IN PARIS, directed by AnthonyWaller for Hollywood Pictures and J&MEntertainment, and last year CHRISTIE MALRY’SOWN DOUBLE ENTRY directed by Paul Tickell,to name just a few. Shortly before the turn ofthe century Nicolas Cage produced SHAD-OW OF THE VAMPIRE, which was presentedin Cannes, still in the old Delux studio com-plex in the centre of Luxembourg. The in-creasing production volume made expansiona necessity. In the middle of last year thenew studios began operation.

With ARRI RENTAL I was able to servicethe above-mentioned projects, and I amcurrently working to equip the latest Deluxhighlight with ARRIFLEX cameras: CQ –the feature film début of Roman Coppola,son of Francis Ford Coppola. He also tookon the role of executive producer.

Roman Coppola had worked on some ofhis father’s films, and after graduating fromthe NYU Film School had produced five cinema films. On BRAM STOKER’S DRACULA

he was responsible for visual effects as wellas directing the Second Unit. As director ofmusic videos he is one of the “New Gene-ration of Music Video Directors”. Band andStars such as “Moby” and “Daft Punk &Wyclef” have worked with him. His co-op-eration with choreographer Richard Koufeyon Fat Boy Slim’s “Praise You” earned himthe MTV Music Video Award in 1999 inthe categories “Best Dance Video”, “BestDirector” and the “Video of the Year” award.At the same time he made advertising clipsfor Levi’s, Coca-Cola and Adidas amongothers. His latest project is called “CQ”and tells the story of a young man – PaulBallard – and an attractive actress playingthe role of “Dragonfly” in a spy-thriller –both on a mission which will totally changetheir lives.

CQ is produced by American Zoetrope,MGM and Delux Studios. DoP RobertD.Yeoman has shot films with actors such asGerard Depardieu, Jeremy Davis, AngelaLindvall, Giancarlo Giannini and MassimoGhini in Rome, Paris and Luxembourg. Rightat the outset of his career, Robert D.Yeomanwon the Spirit Award for his work on DRUG-STORE COWBOYS. After that he was theDoP on various films of the so-called “NewSchool of Cinema”. Examples are TO LIVEAND DIE IN L.A., RAMPAGE, BOTTLE ROCKETand RUSHMORE. DOGMA with Matt Damonand Ben Affleck, John Grisham’s THE RAIN-MAKER as well as the recently released filmBEAUTIFUL by Sally Fields are further high-lights of his career. In total over 22 filmsbear his signature to date. But also thelong list of advertising projects for Coca-Cola, Saturn, AT&T, Nike, Audi, Burger

King, Ikea, McDonald's and SW-Airlinesamong others is remarkable.

Yeoman decided on the ARRIFLEX 535Aas his main camera, with a “B”-viewfinder.For him this is the ideal choice, combiningthe reduced weight and the better B-finderimage with the electronic control possibilitiesof the 535A. The ARRIFLEX 435 was alsoused, as well as the RCU and the new wire-less-controlled LCS-2 system. The integratedvideo-assist IVS offered the team a perfectflicker-free monitor image. For lenses hechose the Zeiss primes and a 20 –100 mmCooke zoom. For interesting effects Yeomanalso used an ARRIHEAD, two O’Connerheads, the new Cartoni Lambda head anda Tango Swing System.

ARRI RENTAL was again able to prove its performance on CQ. I hope that we willcontinue to work closely with our interna-tionally acclaimed partners and customersto create beautiful images on celluloid andto transport millions of spectators into adifferent world …

Clemens Danzer

Roman Coppola

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Camera Service Center, CSC, an ARRIGroup Company, is a full service, filmequipment rental company based in Man-hattan on West 54th St. With one of the largest and most diverse inventories of filmproduction equipment in the U.S., CSCprides itself on the quality of their gear andtheir unprecedented service a point wellknown among NY gaffers. With a uniquesystem of technicians who are often respon-sible for a single equipment class, the qual-ity of the equipment is well above par. Andthe depth of the company’s inventory meansthat they can and do replace an item withina matter of hours.

Gaffer Joseph Sciretta relies almost exclu-sively on CSC to get the job done. Josephhas been gaffing for years with credits likeTHE COSBY MYSTERIES, the LAW & ORDERTV Movie, EXILED and TRINITY under his beltalong with DP Glen Kershaw. He’s currentlygaffing NBC’s THIRD WATCH, created byEmmy-winning EMERGENCY ROOM

mogul, John Wells. THIRD WATCH is oftendescribed as an “outdoor ER”, depicting firefighters, paramedics and cops battlingthe elements on the street as well as eachother on the swing shift in New York.

Joseph chooses ARRI lights for a number of reasons, one of them is CSC’s service.“Anytime we have a request for a special’ear’ needed to fit a light, they’ll make it”,says Joseph. “Their staff is there in a mi-nute’s notice and they’re great because theirwarehouse is here, and everything is instock.” Joseph also notes ARRI’s reputationfor building high-endurance products thatare considered workhorses in the industry.“Because we’re shooting in an ‘assault-time’ situation on the streets of New YorkCity, I’m under a lot of pressure,” he ex-plains. “These lights come off the truck afterbeing bounced around and they have tolight up. And they’ll light up, no problem.ARRI has built a workhorse.”

New York may not be the Mecca

of film and television that Los

Angeles is but it does have one

major thing going for it – it’s a

great location! And given that

thirteen primetime TV series are

currently calling New York City

home (the most since television’s

Golden Age during the 1950’s)

producers must think so as well.

Some shows are gritty, like THE

SOPRANOS and THIRD WATCH,

while some are glitzy, like SEX

AND THE CITY and SERENDIPITY.

But either way, they call New York

home. What’s more, New York

has a few other things going for it,

including an experienced talent

pool, and well-stocked equipment

houses, like Camera Service

Center and their vast inventory of

ARRI lights and cameras.

ARRI 4K Par inspires new and unique Uses on Primetime Shows

ARRI LIGHTSon New York’s Streets

PHO

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KU

TCH

One of Joseph’s favorites is the ARRISUN40/25 PAR. It takes the lead in his day exteriors. He can use it as broad soft light,duplicate xenon for shafts, or coupled witha Chimera, as an eyelight on day exteriors.For the most part, it has replaced the 12Kfor him. “A 12K is just too big to put on acity street and not create a crowd. On THIRDWATCH, we’re trying to be more discreetbecause we want to shoot with live streetswithout using extras; it’s more realistic. Wecan hide the 4K much easier than a 12Kand given that we do ’360°s’ all the time,that’s a plus.” What about ’hollywooding’(hand holding) one on a 2K riser? They’vedone that too. There are a large number ofexterior scenes shot and that means a lot of’walk and talks’. If the sidewalk is to roughfor a light on a dolly or they need to walkbetween cars, he’ll have an electrician ’hollywood it’, which you definitely can’t do with a 12K.”

Take the versatility of a Par lamp, give it the punch of a 12K Fresnel and pound forpound you get the most for your dollar with the 4K Pars. You can put them on fireescapes (they’re everywhere in NY) if your budget or schedule can’t accommo-date 12Ks on a condor. Put two 4Ks, two1200s together in what Joseph calls an “assault hamper” and you can “go any-where with it and produce an enormousamount of light.”

Another of Joseph’s favorites is the ARRI-SUN 2 PAR, which he finds invaluable onthe street. Given its low weight at just under5lbs., it’s easy to mount with a suction cupfor a car shot and no genny is needed. Onrun-n-gun night exteriors, with two electri-cians holding 200s each, you’ve got abacklight and an eyelight. You have theability to move with the speed of a docu-mentary which speeds up the whole routine.Without the burden of a genny, Joseph’s crew can go from car shots to walk-n-talkshots and then up to a city roof with ease.And for 200 watts, they’ve got lots of punch.“Years ago,” says Joseph, “you had to havea marine battery and inverters to do thesetype of shots but ARRI has advanced thetechnology enough that they’ve expeditedmy lighting procedure.”

Just because he does a lot of run-n-gun doesn’t mean he doesn’t pull out the big boysnow and then. For larger night exteriors,he’ll use two ARRI T24 Fresnels. They’rebig but light enough to get two into a con-dor and they put out a lot of light. He’ll useone as a backlight, turning the other aroundto pickup the background.

If someone asked what might be the flip side of the coin when it comes to style, SEXAND THE CITY would be it. The extremelypopular HBO series is shot exclusively inNew York City. Gaffer Mike Marzovilla isalso a fan of CSC and uses them exclusivelywhen he can. “They really take care of meso production has no questions about theservice,” says Mike. “It’s one less thing I have to worry about. If I have a problemwith a unit, which is rare, they send me anew one before I even get a chance to sendit back. It may sound corny but I won’t gowith anyone else. If I can’t get CSC, then Itell them to get whomever they want be-cause it becomes their problem. I’ve got toknow I can count on equipment that worksand the service to back it up.”

Mike is also a fan of ARRI lights, using themsince he worked at Legs Lighting years ago.On SEX AND THE CITY his lighting needs area bit different than Joseph’s on THIRD WATCH.One day he may light a wedding scenewith 300 – 500 extras in the Plaza Hotelusing up to five condors outside, balloonsinside, sometimes even putting up a grid inthe ceiling, while the next day he mightlight five different locations. “In the filmwork I’ve done, almost every location is apre-rig. But in episodic TV it’s not alwaysthe case,” says Mike. “I can’t take the lux-ury of more than an hour setup time. Anymore than that is a pre-rig. My rule is if it’sgoing to take longer to setup than the timeit takes talent to get ready, I’ll pre-rig it.”This means that Mike often has his lightingpackage spread out between 2 – 5 loca-tions through out a day. Though he has alarge lighting package, it’s no saving grace.In the fast paced and budget conscienceworld of episodic TV each lighting unit is taxed to its limit and has to work, no ques-tions asked.

Mike carries a tractor-trailer on the job withplenty of ARRI equipment, two 18Ks, seven4K Pars, eight 1200w Pars, two 200K Parsand two 1200w Fresnels. His favorite, nosurprise, is the 4K Par. “Prior to gaffing, I al-ways preferred to handle a piece of equip-ment on my own. The original 12K HMIsfrom other manufacturers were heavy andtook a team of men to hoist them up on astand. But you needed the light,” he says.

On location in New York

Mike Caracciolo, Ted Heys, Mike Spiller (f.l.t.r.)

Today, with ARRI’s 4K Pars, that’s changed.“Features are fine for large teams but onepisodic TV you need to handle a light onyour own. I recall shooting a scene in aworking high school once where we had towrap out every night. I would send fourguys to set up a series of 4K Pars on a roofoutside the school, shooting down into thehallway windows. But because of the ARRI4K’s relative lightweight, I could leave oneguy up there who would focus the lightsand move them all on his own. That spedup lighting adjustments without compromis-ing the amount of light produced. It also gave me a lot of versatility, freeing up threeelectricians to pre-rig elsewhere. That makesthe electrical team a lot more valuable tothe show like this,” Mike explains.

Shooting episodic TV places a lot of de-mands on lights as well as on a crew. Butthe service at CSC and ARRI lighting’sworkhorses is the perfect combination forhandling the demands in a tough town likeNew York City.

Frank Dellario

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The film transfer suite at The Film & TapeWorks consists of a Spirit telecine with theAaton Universal Reader Head, an Aaton InDaw system and a Keylink system with theInstaSync option. Before each transfer sessionthe production audio is transferred from DATto a Jaz disk using the InDaw. During thetransfer, the Keylink matches the timecodeon the disk to the timecode on film. Sincethe match-up takes only a couple of frames,there is no need for recording any pre-rollduring production.

Bob Sliga, Senior Colorist at The Film & Tape Works tested the system extensively inthe spring of 2000 with the help of BobDonnelly from North American Camera outof Milwaukee, Wisconsin. After the firstcommercial jobs, Bob Sliga found that “itcuts telecine time in half –it takes me 2 hours

now for a transfer job with synching thatwould have taken 4 to 5 hours without time-code”. “The advantage to my clients”, addsAdam Marton, “is three-fold: they get the finished transfer faster, they get it cheaper,and they can view the footage with sound.To our surprise, customers really appreciatethis last point. The ability to experiencetheir footage with audio often leads to therealization that a bad take really was agood one.“

The Film & Tape Works has completed anumber of ARRI timecode jobs this year.“Most of them are 16 mm Indie films, witha commercial here and there”, says AdamMarton, “and we do not charge anything extra for the use of timecode. The advantageto us is the repeat business we get from cu-stomers who have tried it.”

One such customer, Ritch Wedeking ofTwitch Films, enthusiastically endorses theuse of in-camera timecode. “On a recentshoot, we had a little girl who was afraidof the camera, and especially the slate.Since we were running timecode I decidedto not use the slate at all, and that visiblycalmed her down.“ During the transfer,Ritch noted that, “we had shot one take39 times, which would have taken foreverto synch. With timecode, it was a snap. Iwill always shoot with timecode from nowon; there is no reason not to. It didn’t costme anymore, but saved a bunch in post.“

Elvir Hrastinski of Motion Picture Services,who supplied the 16SR3 HS used, findsthat, “people just don’t know that thiscapability exists and we need to do moreto inform them.” To that end The Film & Tape Works is planning a series of semi-nars together with ARRI and SchumacherCamera, another film camera rental housein Chicago. They will go through the useof timecode in production and post-pro-duction, with hands-on sessions on ARRI-FLEX cameras and the Keylink system.Sharon Walker from Schumacher Cameraconcludes, “since our ARRIFLEX camerasare already equipped for timecode, weare very pleased to have this capabilityin town now.”

Marc Shipman-Müller

ARRI timecode is experiencing a renaissance in the Midwestern United States. Ever since The Film & Tape Works

(a full service film and broadcast production and post-production house in Chicago) installed an Aaton Universal

Reader Head, they have been enjoying the advantages of in-camera timecode. “This was the missing piece of

the puzzle,” says Adam Marton, Executive Producer at The Film & Tape Works. “This head reads ARRI timecode,

AatonCode and Keycode, and integrates smoothly with the Keylink system”.

T I M E C O D EAdam Marton (left) and Bob Sliga

The Spirit Transfer Room

A l i v e a n d w e l l i n C h i c a g o

27

Over the twenty years since its inception, theSundance Institute has provided countlessartists, including screenwriters, directors,producers, cinematographers, playwrights,choreographers, composers, creative non-fiction writers and performance artists a venue in which to explore and perfect their art. In 1985 the Sundance Film Fe-stival grew out of the Institute’s desire to provide exhibition opportunities for thework they helped nurture. The SundanceFilm Festival, held each winter, has growninto the preeminent showcase for new inde-pendent cinema.

The yearly June Screenwriters and Filmma-kers Labs offer emerging screenwriters anddirectors the chance to develop new workin the creative and peaceful environmentof Sundance, Utah. According to Robert

For many reasons, ARRI Inc. has alwaysbeen a good friend to the independentfilmmaker. Whether it’s a desire for thatcertain look that’s achieved only with ARRI-FLEX cameras and lenses, the versatilityand compactness of ARRI’s camera systems,or the commitment on ARRI Inc.’s part tocapture a market long ignored by other camera companies, the independent film-maker’s first choice for camera and lightinggear is often ARRI.

Franz Wieser

Robert Redford founded the

Sundance Institute in 1981 in an

effort to enhance the artistic

viability of American film. With a

core goal of providing young

filmmakers from culturally diverse

backgrounds the opportunity to

develop films that probe the human

condition and give voices to new

ideas, the Sundance Institute has

virtually become synonymous

with independent film.

Redford, “The summer lab gets the least attention, but it’s the most important thingwe do.” ARRI Inc. has long been presentat the June Labs at Sundance, providinglighting equipment to these new filmmakerswhose initial efforts are shot on videotape.In May each year ARRI Inc. packs up$ 100,000 worth of HMI and tungsten location lighting equipment for the Filmma-ker’s Labs to be put to work for the durationof their session.

Following the five-day Screenwriter’s Lab,the Filmmaker’s Lab kicks in and it is herethat the ARRI lights get set up and the emer-ging directors get hands-on experience.They shoot and edit their scenes fromscreenplays under the guidance of veterandirectors, editors, cinematographers andactors. An ensemble of professional actorsis cast and small crews are used in an ef-fort to give the director an opportunity todevelop skills, take risks and see how it allplays together. Creative Advisors challenge,give suggestions and inspire the participants.Advisors for the Screenwriter’s and Filmma-ker’s Lab have included such luminaries asAlan Rudolph, Richard LaGravenese, PaulAttanasio, Sydney Pollack, James L. Brooks,Sally Field, Allen Daviau, Kathy Bates andDenzel Washington.

After the Labs, Sundance offers ongoingcreative and business assistance to alumniincluding, in many cases, attaching pro-ducers, casting and financing, which helpsthe projects move forward into production.Some notable films that received their startat the Filmmaker’s Labs are THE TRIP TO BOUNTIFUL, RESERVOIR DOGS, COPLAND,SMOKE SIGNALS, CENTRAL STATION andBOYS DON’T CRY.

Robert Redford

ARRI Lights i l luminate the SceneAt Sundance’s Filmmaker’s Lab

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Band of Brothers

BAND OF BROTHERS is produced by Band OfBrothers Ltd on behalf of The Playtone Com-pany and DreamWorks SKG. Tom Hanks andSteven Spielberg are executive producers ofthe project which began production earlierthis year for a 2001 debut on HBO.

“We’re excited to be doing another mini-serieswith Tom Hanks and look forward to workingwith Steven Spielberg,” said Jeff Bewkes, chair-man and CEO, Home Box Office. Chris Alb-recht, president HBO Original Programming,noted “Just as Tom’s involvement in APOLLO 13inspired him to do FROM THE EARTH TO THEMOON, the remarkable collaboration of Hanksand Spielberg on the acclaimed SAVING PRI-VATE RYAN has laid the groundwork for whatwill be another television mini-series event.”

“A mini-series will give us a chance, like noother enterprise, to present the realities of thesubject,” added Hanks. “Ambrose’s work isrich in detail, character and all the verities ofhistory. Steven Spielberg and I agree, we arelucky to have the long-form medium of HBOfor BAND OF BROTHERS”.

“I am so pleased to be working again in theUK, which has been the spawning ground forso many of my productions, from RAIDERS OFTHE LOST ARK to SAVING PRIVATE RYAN,“ re-marked Spielberg. “Now, for BAND OF BROTH-ERS, it will be a combined operation, a truestarting point just as it was in 1944 for the101st and the thousands of Allied forces.”“England is a wonderful place to make films,

… is a 10-part mini-series based on Stephen Ambrose’s nonfiction best-seller about a World

War II U.S. Army unit. It tells the story of Easy Company, 506th Regiment of the 101st Airborne

Division, U.S. Army. Starting with their rigorous training in Georgia in 1942, Ambrose’s

book recounts the achievements of the crack rifle company, which parachuted into France early

on D-Day morning upto their capture of Hitler’s Eagle’s Nest at Berchtesgaden. Drawn from

hours of interviews with survivors, as well as soldiers’ journals and letters, BAND OF BROTHERS

chronicles a unit was forced to endure great sacrifices and became true American heroes.

cause they are very understanding of produc-tion problems and restrictions, hugely attentiveto the needs of the camera crew, and there isnever a time across 7 days a week, 24 hoursa day, that you cannot find someone from ARRI Media who will answer a phone and respond helpfully to last-minute requests”.

“I was thrilled when Remi signed up for BAND OFBROTHERS and it was decided to work with ARRIMedia again. This is a long project with two fullunits shooting most of the time, over a periodof 32 weeks. Our demands on a camera ren-tal company are more than I have ever knownbefore and they are dealt with efficiently, help-fully and with a vast amount of patience. Theirprofessionalism is complete”, Mary concludes.Amanda Collett

The equipment supplied by ARRI Media to BAND

OF BROTHERS is extensive and includes:

Cameras: ARRIFLEX 535B, 435, 35 III, 2C, MoviecamCompact and SLLenses: Zeiss Ultra Speed 14 mm – 135 mm (including28 mm, 40 mm und 100 mm), Cooke ZoomsAccessories: ARRI LCS Wireless System, LOCPRO, Clairmont Image ShakerGrip: Hybrid & PeeWee Dollies, Dolly Encoders, HOT Gears, PowerPod 2/3 Axis, Hot HeadCranes: Giraffe, Phoenix, SuperTechnocrane

and as the experience of making SAVING PRI-VATE RYAN made clear to us all, it is an idealplace to make this ambitious miniseries aboutWorld War II,” said Hanks. “I am very gladthat HBO and the British Government havefound the ways for us to capitalize on the UK’stremendous film-making talent and resourcesso that BAND OF BROTHERS can recreate theworld as it was more than 50 years ago.”

The majority of the production facilities forBAND OF BROTHERS are based at the formerHatfield Aerodrome in Hertfordshire, whichalso served as the location base for Spiel-berg’s production SAVING PRIVATE RYAN.

A backlot of sets has been built that recreatemore than 12 European cities and villages, including Bastogne in Belgium, Eindhoven inHolland and Carentan in France, as variousstages of WWII are represented. Outside ofHatfield additional UK locations are also be-ing used to double as such places as CampToccoa in Georgia, Aldbourn in England andMourmelon in France.

UK producer Mary Richards, who has workedwith ARRI Media on previous projects, com-ments “For me, it is a particular pleasure to beworking on BAND OF BROTHERS with ARRIMedia. I believe that the cameraman should,whenever possible, have the choice of cam-era rental company and I first dealt with ARRIMedia on ELIZABETH as they were the choiceof the DoP Remi Adefarasin. It was a verysuccessful and pleasurable collaboration be-

29

Jeremy explained his approach “When wewere designing an upgrade for the Wescam,we wanted to replace the Mitchell camerawith a new camera, capable of performingall the in-camera functions available on theground. The ARRIFLEX 435 was the perfectchoice.”

ACS’s Jim Swanson and Oliver Ward worked closely with ARRI GB and ARRIAustria on the task of integrating the 435 ESbody with IVS (Integrated Video System) into the upgraded Wescam. Lens control wasachieved using the LCS controlled via theWRC-1. This meant it could be used withthe standard Cooke 10:1, Angenieux HRzoom lenses and the ARRI Variable Primes.

Jeremy used the Wescam 435 with the ARRIVP-2 to spectacular effect in the openingsequence, shot at night from a helicopterover London. He said, “The director, Mel

Smith wanted to have some zoom move-ment in the shots, so I decided to use theVP-2 and shot at t 2.8 on Kodak 7279. Forthe first time, the fantastic IVS allowed meto see the frame clearly at night.” Mel Smithcommented: ”Jeremy captured an aspect ofLondon rarely seen in British films. His aerialphotography gave the film a gloss, moreusually associated with New York.”

The film’s end sequence was also shot byJeremy and his team using the Wescam 435.However, this time they used the Cooke 10:1zoom. The mating of the venerable Wescamwith the supremely flexible ARRIFLEX 435has produced a very adaptable stabilisedaerial platform.

The Gyron FS is another new piece ofequipment available through ACS. Fromthe stable of Bob Nettmann, this stabilisedhead was used by Jeremy on CHOCOLAT

using an ARRIFLEX 35III. Jeremy explainedthe reasoning behind this: “The unique fea-ture of this mount is that it allows the use ofvirtually any camera and lens package from16 mm to 65 mm & 70 mm. However, for35 mm work on a tracking car or crane, the435 with a 1,000’ (300 m) magazine isthe preferred choice.”

Jeremy and his team are currently collabo-rating with ARRI Media on a High DefinitionProject – it would seem that “the sky’s the limit” with Aerial Camera Systems!

Don Harris

Jeremy Braben, Aerial DoP and head of AERIAL CAMERA

SYSTEMS (ACS) Film Department, used his modified

Wescam system on A KNIGHTS TALE and most recently on

Mel Smith’s new film HIGH HEELS AND LOW LIFES.

The ARRIFLEX 435 fitted to the Wescam System

ARRI takes to the SkiesWith Aerial Cinematographer Jeremy Braben

30

Focus Puller Craig Feather said: “I found itvery reliable, very handy and very ergo-nomic. We have completed a lot of hand-held work so it is therefore of great naturalbenefit to us. A lot of our past filming hasbeen on location, for example while walk-ing in tight corridors, so it is consequentlyof great value in those circumstances.”

He remembers “Myself and David Odd,Director of Photography, used it last year tofilm SOME VOICES – a picture 90 percentof which was hand-held work in Shepherd’sBush (London). We shot in 35 mm using alightweight camera to create a fly-on-the-wall effect.” He adds “The Wireless LensControl System has reduced the rehearsaltime, allowing us to shoot from the hip –which can be a Focus Puller’s nightmare.But it gives the actors, Director and DoP more freedom, because they do not have anumbilical attachment to the Focus Puller.”

Craig and David Odd are about to em-bark on another production utilising theWireless Lens Control System, this time todiscover THE LOST KINGDOM. They willfilm the drama based on a group of peo-ple who find a lost valley of dinosaurs forthe BBC and Paramount in New Zealand.

It will include a great deal of crane work,and will involve shooting in dense forests.

The system has also proved itself to be ofgreat value when filming commercials dueto its speed of application and ease of use.David Palmer, Company Director at Movie-tech, the London-based rental companyexplains: “The system was extremely accu-rate and allowed the Focus Puller to pre-mark distances on it, which the System hitright on the mark every time. It also has theability to integrate with the camera speed,with the iris automatically adjusted in rela-tion to it.” Furthermore, from a rental pointof view, David was delighted the WirelessLens Control System could also be incorpo-rated with other ARRI products includingthe new Wireless Remote Control for usewith all new ARRI cameras.

Philip Cooper, Rental Manager with ARRIMedia, emphasised the reliability of theWireless Lens Control System. “It was usedto shoot DreamWorks SKG’s BAND OFBROTHERS. This HBO mini-series producedby Steven Spielberg and Tom Hanks, en-dured conditions that were very often diffi-cult and the crew were continuously chasingthe action.”

Since its launch last summer, the Wireless Lens Control System has been embraced by the industry,

enabling the Focus Puller to achieve clarity of shot without needing to be within a wire’s length

of the camera. Fly-on-the-wall hand-held filming, and filming from a crane or in a confined space is

now far simpler and quicker due to the introduction of the system. Used extensively in the U.K.,

its popularity is growing worldwide.

The Wireless Lens Control System

BAND OF BROTHERS was one of the mostbreathtaking productions of 2000 – a keyproduction for ARRI Media where the reli-ability of the equipment and in particularthe Wireless Lens Control System was given a true test.

Philip added “The majority of the shootwas hand held, running around the worst of conditions including rain, mud and snow.Not only did this prove its reliability butdue to its compactness and unbelievablelight weight, it enabled the camera opera-tor to achieve even the toughest of shotswhere the speed of the setup was crucial.”

With its ease of integration with existingARRI cameras and add-ons, the WirelessLens Control System is forecast to have avery bright future.

Don Harris

For more information on the WRC-1 see our web page :www.arri.com/entry/products/wrc_1.htm

Focus Pul ler cutsUmbil ical Cord

31

The first production was an Orangecampaign by Radical Media, in which 8different TV commercials were shot in athirteen day location shoot in Unartoq,Greenland. Logistics on such a shoot arequite difficult. Greenland is the largestisland in the world, mostly covered byglaciers and the total population hoversaround 50,000. Needless to say, theequipment has to be topnotch under suchconditions since spares and replacementscan be days or weeks away, dependingon the weather conditions and availabletransportation.

According to PanArctica’s productionmanager, Ásta Stefánsdóttir, ARRI wasthe only supplier ever even considered.“We’ve had an excellent relationshipwith ARRI Media and ARRI Lighting inLondon for several years now and havelearned to trust their equipment underharsh conditions”.

The second campaign was a PyramidFilm production for Toyota Motors. AgainARRI Media and ARRI Lighting in London

supplied all the equipment. This time thelocation was on top of Langjokull glacierin the rugged Icelandic outdoors andthe shooting took place in October. Theequipment took quite a beating withoutever letting the crew down.

Iceland and Greenland are known fortheir incredible light and stunning loca-tions that are nothing short of breath-taking in their beauty and ruggedness.The DoP in both productions, Karl Óskars-son, is used to working in the northernlatitudes and yet even he was surprisedby the luminosity the locations offered.

Pegasus Pictures is ARRI´s agent in Ice-land and both productions were equippedthrough them. Elli Cassata is the rentalmanager for Pegasus Pictures and waspresent on both locations. “The thing Iworried about most were the electronicballasts. Those are the most sensitivepieces of equipment when it comes tothe kind of elements we had to deal with.When the wind kicks up on a glacier thesnow finds its way into everything andthen melts down again. The ballasts never went down, much to my relief. Itseems to me that we don’t need tougherequipment – we need tougher grips.”

Both productions used an ARRIFLEX 435camera with integrated video assist. Thelighting equipment were mainly ARRI -SUNs and ARRI HMI’s.

Elizabeth Ballantyne

PanArctica productions services recently served two

commercial campaigns that were shot under con-

ditions which stretched the crews and equipment to

their limits. Both passed the tests with flying colours.

Sub-Zero

The semi-desert region of Jodhpur in north-western India with the spectacular backdropof the Umaid Bhavan Palace, was recentlychosen as the ideal location for a multi mil-lion-dollar Campari advert. During produc-tion in December 2000 the temperatures reached a staggering 38 degrees Celsius.This proved no problem for the crew, andthe ARRI equipment also performed per-fectly in this unforgiving environment.

“I have had utmost faith in ARRI for manyyears,” said Paul Laufer, cameraman for theshoot, “and have, so far, not had a singlelet down. It was really a pleasant surpriseto discover ARRI lighting was available inIndia. We had expected to use whateverwas available from the local industry andmake do with it, as it is quite a cumbersomeprocess to import lighting for a five dayshoot all the way from Europe.”

Paul limited his imports to an ARRIFLEX435 ES camera for the filming, and used anumber of ARRISUN 40/25 s, a 12kWHMI and a 2.5 kW HMI with flicker freeballasts on location. Paul found them “allwonderful to work with and completelytrouble free, despite of the high tempera-tures. Despite the extreme length of the ca-bles that came from a 3 phase generator,there were no problems whatsoever. Ourexperience with ARRI lighting has beenfantastic.” Tarsen (Director), Gray Pockock(Grip) and Jim Howie (Electric/Gaffer) were amongst the team working alongsidePaul Laufer on the Campari production.

The lighting industry in India has come along way since the introduction of the ARRI-SUN 40/25s in 1996. During this time, im-portation on foreign manufactured lightingwas quite a task. Allied Entertainment, ARRILighting’s agent in India decided to investin the best possible equipment and dealsexclusively in ARRI Lighting, managing toimport both the complete ARRISUN andDaylight ranges. Since that time, they haveestablished a brand name for themselveswith the help of ARRI.

Today, Allied Entertainment not only cater forthe rentals market but also sell ARRI lightingproducts in the region, a segment that is stead-ily growing. Currently, ARRI lighting is in ac-tion on some of the largest film sets in Indiaincluding Dharma Productions (KABHIE KHU-SHIE KABHIE GHAM), Sanjay Leela BhansaliProductions (DEVDAS), Dreamz Unlimited(ASHOKA).

Elizabeth Ballantyne

ARRI l ights up

CampariGray Pockock (Grip) and

Jim Howie (Electrician Gaffer)

On location in Greenland

The film-maker Mikael Kristersson attracted a great deal of attention

and earned glowing reviews for his full-length film PICA PICA, about

magpies in the Vällingby suburb of Stockholm. His new film, KESTREL’S

EYE, is about a pair of kestrel falcons that live in the church at Skanör in

southern Sweden. Hans Hansson talked to Mikael about his unusual film.

On the flying moped over Skanör’s church

The kestrel with its young

A Bird´s-Eye View

33

er, this time at 32 fps. We try to get a thirdtake, but by now the sun is too high in the skyand is shining straight into the lens. We packup our things, and go for some breakfast inMikael’s wonderful 17th-century farmhouse.It’s the oldest house in Falsterbo, and is sur-rounded by beautiful unspoilt countryside.

One-and-a-half years later I find myself sittingin the cinema “Spegeln” in Malmö togetherwith Mikael Kristersson; we’ve just seen thefirst 35mm copy of KESTREL’S EYE.

“Well, what do you think?” Mikael asks me.“It’s fantastic”, comes my spontaneous reac-tion. My feeling is, “Does it have to finish already?” I’d like to see more. When a filmgives me that feeling, it generally meansthumbs up. The film also looks great from atechnical point of view – it’s a good 35mmcopy, with nice, clear sound.

How did you get the idea to make a full-lengthfilm about a pair of kestrels in Skanör’s old13th century church?

Well, I didn’t actually set out to make such along film, it just developed that way duringfilming. I’ve watched the nesting site over thelast ten or fifteen years, and I could see thatit was a good subject for a film – this pair ofkestrels who make their nest high up in thechurch tower, where they command a mag-nificent view over the old town of Skanör tothe east and the Öresound in the west.

A couple of years ago I wrote an outlineand sent it to the Nature and Wildlife de-partment at the Swedish Television Corpo-ration. They liked the idea and I started making a 50 minute documentary, but oncewe’d started filming, I felt I needed more timeto portray the events in a personal way; Iwanted to make a subjective, poetic filmabout the kestrels, a film which tells its storyin pictures and sound, without any need fora voice-over commentary or music. When Isay “subjective” I literally mean that: every-thing that goes on around the church, eventhe relationship between people and nature,is portrayed from a bird’s-eye, or kestrel’s-eye, view. Another important element is ob-viously the kestrels’ breeding cycle, with anew generation of young kestrels hatching

Late on a winter’s evening in February mytelephone rings: “Hi, it’s Mikael. Accordingto the local news we’re in for good weathertomorrow – can you help me tomorrow morn-ing with some dollying?”

The weather in Mikael’s neck of the woods(Skane, Sweden’s southernmost province)has been grey, cold and cheerless for a longtime. Mikael had asked me a while ago if I would be able to give him and PatrikWaernbaum a hand with a long trackingshot at Skanör church – the opening scenein the full-length film he is working on, KESTREL’S EYE.

The three of us meet up at the church longbefore dawn. The sky is clear, and it is goingto be a fine winter’s day. The ground is cov-ered with a thin layer of snow. Mikael hasprepared the churchyard path where thedolly is to run, by packing the snow with aheavy roller. It’s been a cold night, and togeth-er with the moist sea air the packed snowhas frozen hard. We quickly set up the dollyand film camera and made a trial run.

Mikael wants to film the scene just before thesun comes over the horizon, when the playof light on the church is most beautiful. Thisscene is to be the opening shot, which we seeas the titles come up, so it has to be long: wedecide to run the camera at 50 fps. The firsttake seems to be all right, but Mikael is notsure about the length and wants to do anoth- On the church roof

34

and growing up, and the tireless energy ofthe parents in finding food for their offspring.

You’re the only film-maker I know who portrays animals and people without usinga voice-over or music.

I find it challenging to defy boundaries. Ex-perimenting with form is interesting – youknow, condensing, finding new perspectives,surprising the viewer rather than just servingup what they’re expecting. Documentaryfilms are often rigidly categorised, with na-ture films being solely about wildlife, andfilms about people only about people andtheir relationships to each other. What Iwant to do is look at them both, nature andpeople, at the same time, and observe therelationships between them.

Voice-over commentaries in nature films oftenwork as a filter between the viewer and theexperience the film is trying to convey. Atthe same time, it’s obviously more demand-ing to tell a story without using a narrator

or music. You have to make sure the pictureshave a narrative quality, so the viewers feelthat they themselves are experiencing theevents portrayed, they’re drawn into thestory. That’s how film worked in the silent-movie era, so you could say that I tell mystory like silent film-makers used to, exceptthat I add natural sounds. My own relation-ship to wildlife is not about facts, it’s aboutwhat I experience, what I see and feel.

How were you able to film the kestrels sofreely without them noticing or being dis-turbed by the camera?

The church council gave me permission tobuild a platform for my camera up under theroof of the church tower. I hung black clotharound the nesting site, with a hole in it where I put a dummy lens. I rigged up a lampas a fill light, and a microphone. I got my hiding plan set up during the winter, when thekestrels don’t use the nesting site. When theycame back in the spring they soon got usedto the new interior and I had no problems infilming them in the nest. Out on the churchroof I built another blind where I could sitand film the birds from the outside; no-onecould see the blind from below, and it didn’tdisturb the kestrels at all. On certain occa-sions I rigged up a stand on the ridge of theroof, so that I could film from a differentangle. It’s of paramount importance that youmake all your preparations in good time,and that you prepare properly. I’ve seen fartoo many nature films where the animals aredisturbed by the filmer, with the result thatthe animals don’t behave naturally.

The viewing site high up in the air

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MIKAEL KRISTERSSON, FSF… was one of the first to purchase an ARRIFLEX 16SR3. Before that hehad worked with an ARRIFLEX 16B which was his working tool for manyyears. When he decided to buy a new camera the choice naturally fellon the at that time new ARRIFLEX 16SR3. Mikael especially appreciatesthe brightness of the viewfinder, as well as the viewfinder extensionwith the heated eyecup. Something Mikael Kristersson often uses isthe possibility to quickly swap over to an alternatively pre-defined film-ing speed. With using only one touch of a button he can change from25 fps to 32 fps. Of course Mikael also appreciates the perfect picturequality which is very important when blown up to 35 mm.

Hans Hansson

At times I used four Super-16 cameras simul-taneously: one in the nest, two filming fromthe blind on the roof using different focallengths, and one on the stand on the ridgeof the roof. I could control all the cameras,as well as the tape-recorder, remotely, usingcables. As a result I could film the birds whenthey flew home with their prey, and get wide-angle shots, close-ups from various angles,and shots from inside the nest, all in one andthe same sequence.

The A camera is an ARRIFLEX 16SR3. Iuse a Zeiss 11 – 110 mm zoom, high-speedZeiss lenses, plus a Canon 300mm telephotowith 1.4 ∞ and 2 ∞ extenders. I used Kodakfilms of varying sensitivity, for the nest shots320 T, which is a somewhat softer film witha wider range of tones and less contrast, andwas therefore better suited to these shotswhich I had to make into the light.

In the film there are a lot of exciting viewsof the birds in flight, and hunting sceneswhere we see the kestrels hovering. How didyou manage to make such a good job of this?

I have a lot of experience of filming birdsusing long telephoto lenses, and as theysay, practice makes perfect. However, film-ing the hunting scenes wasn’t easy. I tookthem from my VW minibus, with a specialtripod for the door which I fixed over thebottom of the window-frame, rather like theones they use on safaris in Africa. I had towait for hours at the church to find out inwhich direction the kestrels were flying out tohunt on that particular day. Then I followedthem in the minibus, trying to track downtheir hunting ground – I’d asked the farmersin the area for permission to use their lanes.As a rule the kestrels hunt within a radius ofone to three kilometres from the church.Then I had to wait until the kestrel came back,and drive as close as I could. Actually film-ing a kestrel hovering isn’t that difficult, butwhen they swoop down on their prey theymove like lightning.

It took a lot of thought to work out how todo the subjective shots of the birds in flight.If I’d used a Wescam from a helicopter itwould have been hard to get close enough,without the wind from the rotor blades beingvisible on the grass and bushes. A mini-helicopter might have been the answer, butmuch too expensive for my tight budget. Also, it would have been difficult to bookthe right time. The solution was actuallymuch closer, and moreover it was a CBGsolution (Cheap But Good). I got in touchwith a flying instructor, Johan Frank, who

lives in New Zealand for most of the yearbut spends his summers in Sweden. He hada Trike hang-glider with a motor, a “flyingmoped” with delta wings. We tied the cam-era at an angle of 45 degrees to the ground.The plane takes two people so I could goup with him. It felt good from the word go; I had a real sense of flying, and I soon feltconvinced that this was the right approach.We flew over the church and the surround-ings a few times, and then out to the birds’hunting grounds. Johan could fly the machinepretty slowly, but I still decided to film at50 fps to keep the speed down and getgreater stability in the pictures. He could also turn off the engine and glide like a bird.I was very happy with the sequences weshot, I think they have captured what it’s like for a bird in flight in a way I haven’tseen before.

How did you manage to finance the film?

The basic budget to get started came fromthe Swedish Television Corporation’s Sunds-vall office, which is responsible for wildlifeprogrammes. I received additional fundingfrom the film consultant at the Swedish FilmInstitute, Bo Erik Gyberg. Most recently, Ihave been granted funding by the SwedishArts Council, to blow up my film to a 35 mmcopy. When you work on your own as I do,the cost of labour is relatively low, but atthe same time, you get through a lot moreraw film, which in turn means that your labcosts are higher compared to script-basedfeature films. I mean, you can’t direct birds.It also obviously takes a long time when you

do everything by yourself, but you’re moreor less obliged to with this kind of film. Ican’t plan in advance when the weather’sgoing to be right for filming; when the weath-er’s bad I do some editing, or transfer soundrecordings onto magnetic film.

I’d also like to take the opportunity to puton record my thanks to Sten Lindberg atFilm Teknik in Stockholm, who has done amarvellous a job on the colour timing andquality control. He wasn’t satisfied untileverything was perfect. The result is a verygood 35-mm copy, which has super colourtones and captures all the varying nuancesof light.

Mikael Kristersson has been working on histhird full-length film, LIGHT YEARS, for a num-ber of years, and we look forward to talkingto him about it in the not-too-distant future.

Hans Hansson

The ARRIFLEX 16SR3

HANS HANSSON, FSFSwedish DoP Hans Hansson, 55, works as a freelance cinemato-grapher in music-, commercial- and drama productions. When notbehind the camera, he is an associate editor for TM-magazine (Technology & Man) published by the Swedish Filminstitute.

Mikael Kristersson

“L ightSven Nykvist is one of the world’s most renowned and prolific cinematographers. During a career that has

spanned 55 years, he has been the cinematographer of over 130 films. Considering that his parents

were devoutly religious and that film was regarded as an evil medium by so many at the start of his career,

who would have thought that he would embark on a film career and play a vital part in the film history?

A Documentary about Sven Nykvist

Producer Carl-Gustaf Nykvist with Director Ingmar Bergman and

DoP Dan Myhrman (f.l.t.r.)

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keeps me company“

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It is evident that his father has been a majorinfluence in his life, not only as an authoritar-ian figure but also as a source of inspiration.There was a bridge of understanding betweenfather and son that was based on their mutualinterest in the magic of photography.

In his autobiography, Sven Nykvist writes:“When I got my first camera at the age of12, my father also taught me how to developfilm. As he did not have any modern equip-ment, he simply put the negative on a pieceof copy paper and illuminated it in the sun.Just the same way as he used to do in theCongo. It was on occasions like these that Icould see his good points! These were thetimes when we could meet as father and son!”

And in another passage, Nykvist says: “Anartistic career does not necessarily have toresult in a life of sin. This is what was on mymind a couple of years ago when I was ap-pointed film professor. I asked myself whatmy father would have thought about this.Would he had been pleased or not?”

Nykvist will always bear a feeling of longingand grief. When he was two years of age,he was left at a children’s home and in astill photograph from that time, a terrified little boy is sitting and looking into the cam-era. The unhappy child’s loneliness and sorrow cannot be mistaken.

Light has always been Nykvist’s companion:“When I think of somebody, my memory ofthe person is often coupled with a certainlight on the person’s face and an atmosphere.To me, light has become a passion that hasdominated and given new meaning to mylife that does not only apply to my capacityas a photographer. It feels good to be sur-rounded by light. It gives me a feeling of aspiritual atmosphere. As long as you havethe light, you do not have to feel alone.

The film ends where it started with Nykvistsitting in his bay window looking out. It is sun-set and Nykvist basks in the last rays of light.

No medium would be better suited to de-scribe Nykvist than film, moving pictures like Nykvist himself created: Documentarypictures from various shooting locations, hisfather’s collection of stills and films and

Sven’s own films about his parents and family album.

The film about Nykvist is not only a piece offilm history but also a meeting and a portray-al of him as a private person as well as a pro-fessional cinematographer. The material isas interesting as it is rich, an attempt to makea portrayal of Nykvist and his ever presentcompanion, the light. The film will be shot withan ARRIFLEX 16SR in Super 16 with a run-ning time of approximately 60–90 minutes.

Carl-Gustaf Nykvist

The setting for this documentary film aboutNykvist is a journey by car. Nykvist likes tojoke about the pleasurable sound of rollingtyres under his feet and fights his restlessnessby travelling back and forth between differ-ent places. “It gives me a break from theeveryday responsibilities and demand. Afterall, what can you accomplish when sittingin a car?“ On the road, Nykvist prefers tohave a driver, as he is then free to do whathe likes, to sit and converse, perhaps take anap and wake up and do some more talking.

The film’s opening scene shows Nykvistwaiting for a car to come and pick him upto take him to his home village Moheda, in the south of Sweden where he was born.He is sitting on the window-sill in the baywindow of his house in a flood of light, hiscompanion through life. He dozes off andpictures from his early life appear, while anarrator excerpts passages from his auto-biography.

As Nykvist is heading south, along the Euro-pean highway E4, he is also making a mental journey by looking back and makingreflections on his life. Nykvist starts off bytalking about his well-known collaborationwith Ingmar Bergman, which eventually ledto international fame with the whole worldas his sphere of activity.

And then the story continues. From the recol-lections of his life, colourful people, friendsand acquaintances emerge. Nykvist hasworked with all the great film directors;Andrei Tarkovsky, Ingmar Bergman, WoodyAllen, Louis Malle, Alan J. Pakula, VolkerSchlöndorff, Roman Polanski, John Hustonand with film stars such as Liv Ullman, MiaFarrow, Max von Sydow, Sean Connery,Gregory Peck and Jane Fonda. The list ofhis awards is equally long and impressive.

Halfway through the story, we have arrivedin Moheda, where Nykvist visits the farmwhere he was born. Here he drinks coffeetogether with his relatives. On the way backhome, the story of his life unfolds. The se-cond part of the film is about his relation-ship with his parents. His sense of loss andlonging clearly surface when he talks abouthis missionary parents who left him to go toAfrica in pursuit of their work.

Sven Nykvist with Liv Ullman

Sven Nykvist

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Happy Bir thdayIt all started in the early 1930s. Shortly af-ter joining ARRI, Erich Kästner, at the time21 years old, together with one of the com-pany’s founders August Arnold developed thefirst industrially manufactured film camerasusing the single lens reflex principle insteadof a separate viewfinder. For the first timethe cameraman could see the exact imagewhich would be exposed onto the film whileshooting. Today it is impossible to imagine amodern camera without this principle. Thiswas the birth of the ARRIFLEX 35 system,which led the way in camera technology.

From 1949 to 1952 Erich Kästner devotedhimself to developing the ARRIFLEX 16. Thisfilm format was to become the standard in television reporting and for documentary films.Erich Kästner transferred the single lens reflexprinciple to 16 mm and developed a com-pletely new combined transport and registerpin mechanism. Image stability and precisioncould thereby also meet professional require-ments in the “smaller” format. Other ground-breaking developments which he was re-sponsible for were the ARRI Electronic Cam,the ARRIFLEX 16BL and the ARRIFLEX 16SR.

Erich Kästner was head developer at ARRIfor over 50 years, and the list of his develop-ments and improvements is long. One canonly imagine the technical problems whichfaced him in the pioneering days, and theamount of tenacity needed to solve them. Today he still talks with a grin about how hemanaged to solve some problem after a lotof trial and error. But it wasn’t only a matterof hard work, as you can guess from his grin,but also a lot of intuition and the courage totry out new ideas. In 1983 this was honouredwith an OSCAR-statuette in Hollywood, andin 1993 with the Gordon E. Sawyer Award.In 1995 he received the “Pierrot”, or, as it isalso called, the “Bavarian Oscar”, presentedby Prime Minister Stoiber. To quote the presen-tation speech: “Erich Kästner, in his capacityas head developer of the ARRIFLEX camerasystems, was involved in the development ofthese world-famous cameras from the verybeginning. With his work he played a deci-sive role in enabling great feature films anddocumentaries to be produced all over theworld. In so doing he wrote a part of the history of film, and with this award we wishto honour that.”

We still benefit from Erich Kästner’s techni-cal developments today. Happy 90th birth-day, and thank you Erich Kästner.

MM/JT

… with the OSCAR in 1982

… with the new ARRICAM

Erich Kästner

... at the Bavarian Film-Prize

awards ceremony

Erich KästnerI recognize him from far off. I meet him on Türkenstraße, with umbrella

and hat regardless of the season. My “Grüß Gott, Herr Kästner” is

met with a barely discernable nod. I wonder if he remembers telling me

about his development work at ARRI, when I last spoke to him some

years back. So thorough and detailed that I became dizzy at the

thought of all the technical refinements he thought up in those days.

Talking about his days in the film industry Erich Kästner had been so

mentally alert, interesting and witty that I could see it all in front

of me: the drawing boards, the lively debates, the “buzzing” heads …

and the effort – but also the satisfaction when they had achieved

something. Erich Kästner was then 85 years old. Recently, on 5 April,

he celebrated his 90th birthday.

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In September 2000 Dr. Neubauer, man-aging director of the National CameraAssociation (Bundesverband Kamera e.V.),showed ARRI the plans of Philipps Univer-sity and the city of Marburg for the first time:they wanted to establish a camera prize of a highly specialised nature. The establish-ment of this prize was driven by Prof. KarlPrümm of the faculty of Media Studies atPhilipps University and the head of theMarburg Cultural Department, Dr. RichardLaufner.

The appropriate setting for the award wasprovided by the Marburg Camera Discus-sions, being held for the third time. Theseare organised by Philipps University, theBundesverband Kamera e.V. and the Cham-

ber Film Art Theatre. All programme points,dedicated to the entire work of the camera-man, were followed with excitement bynumerous participants. It’s not every daythat “un ‘Grand’ du Cinéma Français” sitsin a cosy cinema discussing his work withthe camera and the sometimes difficultworking relationship with a director – re-flecting on it with a variety of anecdotes.

Raoul Coutard has played a decisive role in the image aesthetics of modern cinema.In his first collaboration with Jean-Luc Godard he shot the feature film A BOUT DESOUFFLE (Breathless, 1960), starring Jean-Paul Belmondo and Jean Seberg. Coutardcreated a completely new style of imagein this film and became the most important

Raoul Coutard – a worthy Pr ize-Winnercameraman of the “Nouvelle Vague”. Se-veral more important films followed withGodard. With François Truffaut he shot, toname just two examples, JULES ET JIM (1961)and LA PEAU DOUCE (The Soft Skin, 1964).

Thanks to Hubert Hetsch, cinema managerof the Chamber Film Art Theatre in Mar-burg, visitors of the Camera Discussionswere able to see these films as well asothers by Coutard. In addition, the two-day programme included talks by RainerGansera (freelance film critic and publi-cist), Rolf Coulanges (cameraman, BVK),Prof. Karl Prümm, and interviews with Raoul Coutard, the prize-winner.

Raoul Coutard’s photographs, exhibited inthe university library, were also worth see-ing. These included shots from his time work-ing as a photographer on various maga-zines, including war reports in Indochina.

In his thank-you speech, Raoul Coutardsaid: “Just as so much in the life of an actortakes place between ‘action’ and ‘cut’, Ican only say that my life has taken placebetween film awards.” He means the Ger-man Film Critics’ Award in Munich at theoutset of his career and today’s award ofthe Camera Prize in Marburg. How wellit’s worked out.

Paul Ivan

It's not always easy to choose the first winner of a newly established

film prize. In Raoul Coutard the jury of the Marburg Camera Prize has

chosen a worthy candidate. This new award for outstanding film

image creation was presented to him on 2nd March by mayor Egon Vaupel

in the townhall's historic conference room. The prize is worth

DM 10,000, donated in equal parts by the city of Marburg and ARRI.

In his modest way, Raoul Coutard has managed to fill the

“3rd Marburg Camera Discussions” with life.

40

Takeshi Kitano is scriptwriter, director andleading actor all in one on his new project,BROTHER. This is the biggest film in his career.An international co-production project involv-ing Japan and the United Kingdom, BROTHERwas produced by Masayuki Mori of OfficeKitano from the Japanese side and by JeremyThomas of Recorded Picture Company fromthe British side.

With this project, Kitano took on a challengenever before attempted in the Japanese cinema industry; to fuse the Hollywood pro-duction methods and Kitano’s filmmakingas an auteur.

Needless to say, the realization of this projectwill greatly affect Takeshi Kitano’s future filmmaking, and will become a milestone forJapanese cinema in the 21st Century.

Takeshi Kitano (centre) with the ARRIFLEX 535

BROTHER was filmed with an ARRIFLEX 535Bsupplied by the Rental Department of ARRI‘sagent in Tokyo, NAC for location in Tokio.In Los Angeles cameras were supplied throughOtto Nemenz.

B R O T H E R

ARRI MEDIA WORLDSALES presentedthe only German entry for the official com-petition at the Berlinale 2001 with its first

A R R I M E D I A W O R L D S A L E S

F.l.t.r.: Producer Thanassis Karanthanos, director Filippos Tsitos with actress Nadja Uhl and AntonioExacoustos (ARRI MEDIA WORLDSALES) at theGerman reception at the Berlinale.

cinema project MY SWEET HOME by FilipposTsitos. ARRI MEDIA WORLDSALES ac-companied the film from the first draft ofthe script and is responsible for worldwidedistribution.

Other projects, including HEIMAT III by EdgarReitz, are currently in production. Furtherinformation and the programme can be ob-tained at: www.arri-mediaworldsales.de.

The historical capital Ayudhaya is the subjectof Thailand's biggest feature film project todate. With a budget of over 400 million Baht,it tells the story of the old Thai capital and itsdynasty. With Suriyothai a new era in film-making has begun in Thailand.

His Serene Highness Prince ChatreechalermYugala, one of the country’s leading direc-tors, researched the history of Ayudhayafor over five years with historians and aproduction team. The film was then produc-ed in just under two years. It shows the oldway of life, the traditions and beliefs of theThai people.

The list of credits reads like a Who's Whoof Thailand. To name a few: Khunying M.L.Piyapas Phiromphakdi (personal secretary toH.M. the Queen), H.E. Paweena Hongsakul(a member of the Thai Cabinet), SaranyuWongkrachang, Pongpat Vachirabanchong,Chatchai Plengpanich, Mai Chareonpura.On the most important scenes, over 3000extras, no less than 300 elephants and atroop of horses were also involved. By now

Suriyothai – Thai land´s biggest Feature Fi lm

Make the Magic HappenIndia – a country which never ceases to en-chant the Western world, a country with afilm industry among the largest in the world.In the south, just 25km from Hyderabad, oneof the most extensive and technically advancedfilm-production complexes has been createdon a site covering over 800 ha: RamojiFilm City

With over 6500 employees and a compre-hensive technical infrastructure, Ramoji offersfilm-makers from all over the world idealshooting conditions. From outdoor sets to fullyequipped recording studios, from equipmentrentals to post-production departments, all theimportant facilities are available “under oneroof“.

To be able to meet all industry demands,the most modern equipment is available atRamoji Film City. The selection includes allnew ARRIFLEX cameras and accessories,

Zeiss-lenses as well as all ARRI ranges of luminaires. In the last months alone, the camera equipment package was extendedwith three more ARRIFLEX 535 B and fourARRIFLEX 435 ES.

All the ARRI equipment for Ramoji Film Citywas supplied by the Indian ARRI agent:

S.R. Electronic, R.K. Potdaremail: srelect@bom3.vsnl.net.inInformation on Ramoji Film City:email: ushakirn@hdl.dot.net.in

not only national media, but also interna-tional stations such as CNN are showinginterest in the film.

Siamlite Film Service and Camera Corner,both subsidiaries of the Siam Studio Produc-tion Group, supplied the lighting and cam-era equipment: the ARRIFLEX 435 ES, 35 III,BL4s as well as daylight luminaires rangingfrom 4 kW to 18 kW were used.

41

This year the OSCAR for the best short filmwent to the young, Munich-based directorFlorian Gallenberger for QUIERO SER – hisgraduation film at the College of Film andTelevision.

The film tells the story of two brothers whostick together as children – and then split upbecause one brother is looking for love whilethe other is trying to escape the misery of life on the street. Last year QUIERO SER al-ready received the “Student Oscar” for bestforeign-language film as well as awards atnumerous film festivals. The 35-minute longwork was produced by Michel Morales forMondragon Films, with co-producers Cine-Cam and Indigo Film.

Filming took place in1998 in Mexico Cityunder extremely difficult conditions: alongwith three muggings, the crew had to endurea volcanic eruption. In addition, the with-

holding of the sponsorship money by localbanks nearly caused a financial collapse ofthe entire shoot. Due to Michel Morales’ goodconnections in high places, the project wasfinally able to be completed after all.

The film was photographed by Jürgen Jürgeswith the Moviecam. For all the night takeshe used the ARRI Varicon. Combined withthe then brand new Kodak Vision Premierprint stock, Jürges created powerful imagesand the film’s particular look. The differenttime sequences were stylishly emphasisedthrough the use of film materials of varyingsensitivity. Thomas Nickel and Sepp Reidin-ger from the ARRI Lab were on hand toprovide advice and help. Hansjörg Weiß-brich was responsible for editing and themusic was composed by Gert Wilden.

Producer Michel Morales, who is now man-aging director of Haifisch Entertainment,

Shortand

Sweet

Quiero Ser receives an OSCAR

DoP Jürgen Jürges

ProducerMichel Morales

Florian Gallenberger

… with these words director Ang Lee de-scribes his film CROUCHING TIGER, HIDDENDRAGON. A somewhat unusual film for thewestern hemisphere took cinema screens bystorm and managed to secure four trophiesat the OSCAR Gala. The coveted awardwas presented for best camera, best artdirection, best foreign film and best music.

says: “The Oscar is a dream. I would onceagain like to offer the director my congrat-ulations and to thank all those involved fortheir effort.”

The epic love story with elements from mar-tial arts films was filmed on ARRIFLEX andMOVIECAM cameras by DoP Peter Pau.Our congratulations to all who were invol-ved on this great film.

A D r e am o f C H I N A

Branko Lustig has just received an OSCARfor GLADIATOR – after SCHINDLER’S L IST,another OSCAR for him as producer. Con-gratulations! No reason to rest on his lau-rels though: currently he is in Morocco wor-king on a new film. BLACK HAWK DOWN isbeing filmed in Rabat and Casablanca bydirector Ridley Scott (GLADIATOR, HAN-NIBAL – also produced by Branko Lustig) forRevolution Central Productions.

DoPs Slavomir Idziak (1st unit) and AlexanderWitt (2nd unit) are shooting BLACK HAWKDOWN with MOVIECAM and ARRIFLEXcameras as well as the Ultra Prime lenses.ARRI Rental from Munich supplied all thecamera, lighting and grip equipment forthe 14-week shoot. In early March a trail of13 lorries started off on their way south tomake the film.

Black Hawk Down

Branko Lustig (left) with DoP Slavomir Idziak Discussing the equipment

Director Ang Lee

43

44

A Select ion of Currently Serviced

Product ions

ARRI Rental M U N I C H

Title Production Company Director DoP Equipment

ALL THE QUEENS MEN Atlantic Streamline Stefan Ruzowitzky Wedigo von 765, 535AB, 435, Schultzendorff lighting and grip

FEAR DOT COM The Carousel Picture Company Bill Malone Christian Sebaldt 535AB, 435, IIC, SLTHE EXTREMISTS The Carousel Picture Company Duguay Christian Hannes Hubach 435, 535B, SL, lighting and grip BLACK HAWK DOWN Revolution Central Productions Ridley Scott Slavomir Idziak 435, IIIC, Compact, SL,

lighting and gripTATTOO @Lounge Entertainment Robert Schwentke Jan Fehse 535B, 435, lighting and gripDER UNBESTECHLICHE Hofmann & Voges Axel Sand Axel Sand 16SR3NIRGENDWO IN AFRIKA MTM Caroline Link Gernot Roll 535B, 435, SL, scorpio crane systemDR. STEFAN FRANK PHOENIX Ulrich Zrenner Valentin Kurz 16SR3, lighting and gripLORD OF THE RINGS 3 FOOT 6 Peter Jackson Andrew Lesnie 535AB, 435, 535B, 435 Advanced,SLKLINIK UNTER PALMEN Wörthersee Filmproduktion Otto Retzer Mike Gast 16SR3, lighting and gripCLUB DER TRÄUME Ziegler Film Berno Kürten David Slama 16SR3, lighting and gripHOCHZEIT ZU VIERT TV 60 Heidi Kranz Mark Prill 16SR3, lighting and gripCQ Delux Productions Roman Coppola Robert D. Yeoman 535B, 435, lighting and gripEIN VATER ZU WEIHNACHTEN Endemol Thomas Pröve Uwe Schäfer 16SR3, lighting and grip DER SCHUH DES MANITU Herb X Michael Herbig Stephan Schuh 535AB, 535B, lighting and grip

ARRI Media L O N D O N

Title Production Company DoP Equipment

NICHOLAS NICKLEBY Nickelby TV Ltd Sean Bobbitt 16SR3THE INFINITE WORLD OF HG WELLS HG Wells John McGlashan 16SR3LAST ORDERS Scala Productions Brian Tufano 535BTHE HONEYTRAP Honeytrap Productions Ltd Tony Miller BL4SRANDALL & HOPKIRK (DECEASED II) Ghost Productions Ltd John Ignatius 16SR3LAWLESS HEART MP Productions Sean Bobbitt 16SR3REVELATION Romulus Films Ltd Sam McCurdy 535BMESSIAH Messiah Films Ltd David Odd/Kevin Rowley 535BCRUST Crustacean Ltd Seamus Deasy 535BLOST WORLDS BBC David Odd 535B/435

CSC N E W Y O R K

Title Production Company DoP Equipment

MONDAY NIGHT MAYHEM Monday Night Films Jonathan Freeman 16SR3IGBY GOES DOWN Igby Productions Wedigo von Schultzendorff 535BA CHRISTMAS STORY Red Betsy Productions David Tumblety 535B/435ESGHETTO DAWG Jersey Bred Productions Sean Kim 535BNANCY AND FRANK Schenk Productions Igor Vendea 435ESDUMMY Dummy Productions Horatio Marquinez 535BLONG ISLAND EXPRESSWAY Belladonna Productions Romeo Tirone 535BSUPER TROOPERS Screaming V Joachim Baca Asay 535BPOOTIE TANG PT Productions Willie Kurant 535B/435ESGYPSY 83 Gypsy 83 LLC Gina DeGeralamo 535B

ARRI Sound Feature Fi lmsTitle Production

ALL THE OUEEN’S MEN Streamline FilmproduktionBE ANGELED @Lounge EntertainmentLOVE THE HARD WAY Time FilmBERLIN PROJEKT NO.1 Medien & Television MünchenMONDSCHEINTARIF Hager Moss FilmproduktionICE PLANET H5B5NIRGENDWO IN AFRIKA Medien & Television MünchenPALERMO FLÜSTERT SoloFilm Wolf GaudlitzEDELWEISS ThaliaFilmWAS TUN WENN’S BRENNT Columbia TristarDAS EXPERIMENT Fanes FilmPUMUCKEL UND DAS ZIRKUSABENTEUER Infa FilmWAMBO Diana FilmVERA BRÜHNE Constantin FilmproduktionJANNES Hager Moss Filmproduktion

ARRI Digital Fi lm CommercialsClient Production

NGI „PREMIUM“ + „FLAT“ Licht-Spiel-Haus FilmproduktionS. OLIVER „BOYS & GIRLS“ + „KIDS“ + Plaza Media„SPORTS“ + „MEN & WOMEN“

WEIHENSTEPHAN „DER REINE GENUSS“ Input FilmproduktionPIU-DI-SERVAS „DER ÜBERFALL“ @Lounge EntertainmentALLTOYS „BARBIE“ embassy of dreams FilmproduktionTERAXYL „PRISONER“ e+p commercialTVC SUICIDE „FRÜHLINGSERWACHEN“ GAP Films Commercial ProductionMCDONALD’S „VIVA - FROSCH“ Rapid Eye Movement FilmproduktionAROMA „DISCO DEVIL“ picture planet music divisionSPORT SCHECK „SURFER“ + „SNOWBOARDER“ HelliVentures FilmproductionPREMIERE WORLD „SPORTPAKET“ Heye & Partner Werbeagentur„ARE YOU STILL ALIVE“ Moving Adventures MedienPRO 7 „BLOCKBUSTER“ SevenSenses Agent. f. Mediendesign + Mark.

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ARRI TV Series and Fi lmsTitle Production

ALARM FÜR COBRA 11 Action ConceptAUGSBURGER PUPPENKISTE LILALU Magicmotion FilmproductionAUS GUTEM HAUS TV-60 FilmproduktionCOBRA 12 Action ConceptDAS LACHEN DER MÖVE Hope and Glory FilmproduktionDAS SCHNEEPARADIES Multimedia Film- und FernsehproduktionDEADLINE teamWorx ProductionDER FELSEN Medien & Television MünchenDER SCHUH DES MANITU Herb XDER UNBESTECHLICHE Hofmann & Voges FilmproduktionDIE SITTE – KALTES BLUT FilmpoolDIE WACHE Endemol Entertainment ProductionsDOK 12 Joop van den EndeDR. STEFAN FRANK Phoenix FilmEIN VATER ZU WEIHNACHTEN Endemol FilmproduktionFEAR.COM The Carousel Picture Company SAHEAVEN X FilmHOCHZEIT ZU VIERT TV-60 FilmproduktionKLINIK UNTER PALMEN Wörthersee FilmproduktionNIRGENDWO IN AFRIKA Medien & Television MünchenPOLIZEIRUF 110 – KURSCHATTEN Mitteldeutsches FilmkontorPROJEKT NR.1 MTM Berlin Television und FilmRESIDENT EVIL Constantin FilmproduktionTHE EXTREMISTS The Carousel Picture Company SAWILDER KAISER Mecom Movie

ARRI Digital Fi lmTitle Director Production Service

ALL THE QUEEN’S MEN Stefan Ruzowitzky Streamline Filmproduktion Digital Lab, Digital Visual EffectsBE ANGELED Roman Kuhn @Lounge Entertainment Digital Lab, Digital Visual EffectsLAMMBOCK Sönke Wortmann Little Shark Entertainment Digital Visual EffectsMONDSCHEINTARIF Ralf Huettner Hager Moss Filmproduktion Digital Lab, Digital Visual EffectsNIRGENDWO IN AFRIKA Caroline Link Medien & Television München Digital Visual EffectsOCEAN MEN Bob Talbot H5B5 Digital Visual EffectsTATTOO Robert Schwentke @Lounge Entertainment Digital Lab, Digital Visual EffectsTHE POOL Boris von Sychowski Calypso Film Title DesignDER FELSEN Dominik Graf Medien & Television München Digital Visual EffectsDAS EXPERIMENT Oliver Hirschbiegel Fanes Film Digital Visual Effects

Key Contacts

Support KameraGünther ZoehD - 89 - 38 09- 1209gzoeh@arri.de

Leihpark KameraClemens DanzerD - 89 - 38 09 - 1240cdanzer@arri.de

Leihpark LichtHubertus Prinz von HohenzollernD - 89 - 38 09 - 1345hhohenzollern@arri.de

ARRI DigitalfilmAngela ReedwischD - 89 - 38 09 - 1574areedwisch@arri.de

ARRI TonMax Rammler-RogallD - 89 - 38 09 - 1628mrammler-rogall@arri.de

KopierwerkJosef ReidingerD - 89 - 38 09 - 1339jreidinger@arri.de

ARRI GB Ltd.Renos LoukaGB - 2 08 - 8 48 88 81rlouka@arri-gb.com

ARRI MediaAmanda CollettGB - 2 08 - 5 73 22 55acollett@arrimedia.com

ARRI Lighting RentalTim RossGB - 2 08 - 5 61 67 00tross@arrirental.com

ARRI Inc.Franz WieserUSA - 8 45 - 3 53 14 00fwieser@arri.com

CSC Camera Service Center Hardwrick JohnsonUSA - 2 12 - 7 57 09 06hjohnson@cameraservice.com

ARRI CanadaDuncan MorrisonCDN - 4 16 - 2 55 33 35dmorrison@istar.ca

ARRI ItaliaAntonio CazzanigaI - 2 - 26 22 71 75acazzaniga@arri.it

http://www.arri.com

Arnold & Richter Cine Technik Türkenstraße 89D-80799 MünchenTel. D - 89 - 38 09 - 0Fax D - 89 - 38 09 - 1791

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Ltg.), Marita MüllerWith additional text by: Elizabeth Ballantyne, Antonio Cazzaniga, Yves Clanet, Amanda Collet, Clemens Danzer, Frank Dellario, Jean-Louis Deriaz, Jochen Hähnel, Hans Hansson, Don Harris, Paul Ivan,Carl-Gustaf Nykvist, Henning Rädlein, Angela Reedwisch, Marc Shipman-Müller, Franz WieserArtwork: Heilig, Schmid/Beisenherz, München Printed by: rapp-druck GmbH, Flintsbach Litho: EDTZ, Ottobrunn

Technical data are subject to change without notice

Expo Calendar 2001

These are the most important exhibitions where you can find out aboutARRI products and services:

April 23 – 26 NAB Las Vegas

May 08 – 10 Test 2001 Nürnberg

May 10 – 13 Showtech Berlin

May 16 – 18 SMPTE Tokyo

May 23 – 26 Koba Korea

June 19 – 21 Engine Expo Stuttgart

June 19 – 22 Broadcast Asia Singapore

August 12 – 17 Siggraph Los Angeles

August 23 – 26 Broadcast TV Beijing

September 09 – 12 Plasa London

September 14 – 18 IBC Amsterdam

October 04 – 08 IBTS Mailand

October 10 – 13 LLB Stockholm

October 23 – 26 Satis Paris

November 01 – 03 Broadcast India Mumbai

November 02 – 04 LDI Orlando

November 14 – 16 Interbee Tokyo