ARRI News September 2009 - ARRI Media

09/2009
A NEW DIGITAL CAMERA SYSTEM
New SeNSor PrototyPe
DyNamic raNge teSt chart
electroNic ViewFiNDer
hD-iVS
news
arrilaSer 2
arri relatiVity
leD techNology
m18 | aS18 | eB 1200/1800

Content
Camera
A New ARRI Digital Camera System 04
ALEV III – An Innovative Sensor 06
The ARRI Electronic Viewfinder 10
Measuring and Communicating Sensitivity and Contrast Range 11
An Update on ARRIRAW 12
NoUS TRoIS – The first Mscope feature 14
The Cinematic Look of Mscope 15
ADAM goes Tapeless in the Big Apple 16
ARRIFLEX D-21 Around the World 18
Russia – Taiwan – Philippines – Korea
Anamorphic De-Squeeze built into the ARRI HD-IVS 20
Kodak moves in with ARRI 22
Master Primes delivered to Red Apple Camera Rentals 22
Go Wide, Wild and Wet – Underwater Cinematography 23
Digital Intermediate Systems
ARRI Relativity and the Future of DI 24
First Installation of the ARRICUBE Creator Package 26
Singleflash vs. Doubleflash 28
2k ARRISCAN meets Posthouse 30
ARRILASER 2 hits London and Rome 30
First ARRISCAN in Ukraine 31
Lighting
LED Performance on Stage 32
ARRI PAX a lot of LED punch 34
Sculpting with Light 34
FAQ for M18, AS 18 & EB 1200/1800 36
CABSAT 2009 in Dubai 38
Showtech Berlin 39
New SAT.1 TV Studio in Berlin 39
News around ARRI
Mark-II – New ARRI Representative in Kazakhstan 40
Illumination Dynamics Impresses with New LA Facility 42
ARRI CSC Relocates and Expands 43
ARRI-ZEISS Award 44
New General Manager and Head of Global Sales and Marketing 45
Services
A Selection of Currently Serviced Productions 46
ARRI Rental Germany · ARRI Media · ARRI Lighting Rental
ARRI Lab – TV Drama · ARRI Sound · ARRI Commercials
ARRI CSC · ARRI DI / VFX

Dear Friends and Colleagues
Dr. Martin Prillmann
Dr. Martin Prillmann (left),
Franz Kraus (right)
Franz Kraus
Editorial
These are times of rapid change and it is clear that our industry is going through one of the most
interesting periods in its history. Volatility in the world’s financial markets over the last year has
coincided with an explosion of new technologies and digital motion capture products. Budgets have
shrunk, confusion is rife and the transition from film to digital acquisition has accelerated noticeably,
particularly in the world of television.
So what is ARRI’s response to these challenging times and this proliferation of competing systems?
It is, and must be, a determination to carry on doing what we have successfully done for over 90 years:
design and engineer innovative products that address the real needs of the user. In an industry where
the ARRI brand is trusted as a source of expertise and clarity, we must demonstrate how we have earned
that trust and offer up our expertise as a solid rock amidst the sea of uncertainty and hype.
The big news at IBC and for the year to come is the new ARRI digital camera system: a range of three
extraordinary cameras that will push digital acquisition to the next level and address a multitude of needs
across the industry. From television commercials to anamorphic feature films, the new system will adapt
to the demands of any digital production due to its exceptional image quality and the versatility of its
workflow and configuration options.
Just as the digital stills world has learnt that there is more to image quality than counting pixels, so must
the film industry learn that comparing the K-count of sensors is a woefully inadequate means of deter-
mining overall quality. Uncompromised 4k resolution will, for some time to come, remain the domain of
35mm film, as proven by the recent ASC/PGA and BSC camera evaluation tests. Ask cinematographers
what they would most like from the next generation of digital cameras and they will plead for greater
sensitivity and dynamic range before more pixels. We know because we did ask cinematographers,
which is why the ALEV III sensor at the heart of our new digital camera range delivers unparalleled
sensitivity and latitude.
Accompanying the new cameras is a product roadmap that reflects the other thing we can do in these
times of technological evolution and economic adversity: we can ensure the safety of our customers’
investments and protect them from the concerns of knowing when to invest in high-end equipment.
This we can do in two ways – firstly by continuing to make tools that are durable and have a long
product cycle, and secondly by offering a range of upgrade packages and migration pathways.
Dual priorities of innovation and upgradeability are also evident in the latest advances with our lighting
and DI products. Technological breakthroughs have led to new products on both the traditional and LED
sides of our lighting business. On the DI front the ARRILASER II had a very successful start, bringing de-
cisive speed advantages into the market. Our new entry-level ARRISCAN 2k can be upgraded, because
we recognise that the needs of postproduction facilities will change over time. Meanwhile the recently
unveiled ARRI Relativity postproduction software has aroused tremendous interest wherever it has been
demonstrated. Though its capabilities are myriad, we are particularly excited that by manipulating
texture and format Relativity widens the range of acquisition tools that can be integrated with modern
delivery platforms, bridging the gap between established and emerging technologies. It also brings
new life to film based libraries, offering an exciting set of tools.
The point of all this is choice. It is the most valuable thing we can offer to the creative people who drive
our industry and we will never stop defending their right to choose the right tools for each story they tell.

04 Camera
A New ARRI Digital
ARRI is announcing a new range
of digital cameras that will
redefine digital production.
While our engineers have
developed a new and unique
technology platform,
we have carefully looked at
current market requirements for
digital motion picture cameras,
analyzed our experience with
the D-21 and discussed future
applications with prominent
industry insiders. The result is a
comprehensive digital camera
system based around a new
CMOS sensor with unsurpassed
sensitivity and dynamic range.
k The Camera Line-up
The new range of cameras will provide a
compact, lightweight and affordable tool
set to address every level of the broadcast
and feature film markets. The three camera
models will be in a price range from 50,000
to 130,000 Euros. The two entry level
models utilize a 16:9 area from the sensor
and are complemented by the ARRI EVF,
the most advanced electronic viewfinder
on the market. The high-end camera will
continue ARRI’s tradition of offering a 4:3
sensor and a rotating mirror shutter linked
to an optical viewfinder. A number of recording
options, including several unique
and innovative on-board solutions, have
been designed specifically with modern
workflows in mind to provide the greatest
versatility both on the set and in post-production.
k Camera Features
As the result of our extensive market research,
we have identified image performance,
workflow efficiency and product
quality as the most important features for
our new digital camera system.
First and foremost, all three cameras deliver
an unequalled base sensitivity of
800+ EI equivalent and a spectacular
wide exposure latitude. High sensitivity
and a wide exposure latitude not only
allow greater flexibility and efficiency
on the set, they also reduce effort and
cost during post production. The three
cameras also share the same gentle,
organic look of the D-21. The use of a
single 35 format CMOS sensor provides
the same depth of field as 35 mm film
cameras while allowing the use of all 35
mm PL mount lenses.
While image performance is a crucial
factor, work speed and budget are also
greatly affected by how well the cameras’
outputs integrate with post production.
To ensure the most effective and flexible
workflow from the set to post, all three
cameras provide a generous number of
output signals and methods, including
on-board recording options, as well as
multiple live HD and ARRIRAW outputs.
The ARRIRAW features build on the
wide spread industry support for the
ARRIRAW Partner Program.
Last but not least, these new cameras are
endowed with a whole range of high quality
characteristics for which ARRI is famous. This
includes a first rate viewing system, an extremely
robust and reliable build, thoughtful
ergonomic design and simple and safe operation.
To ensure that the cameras withstand
even the most extreme environmental conditions,
our unique thermal concept includes
completely sealed electronics.
k The ALEV III Sensor
At the heart of the cameras is the new ALEV III
sensor, which is used in all three cameras.
It is a 35 format single sensor, Bayer mask
CMOS device with a 3.5k pixel count, the
same film-like look and image sharpness as
the D-21, a spectacular base sensitivity of
800+ EI equivalent and an unprecedented
exposure latitude. To create a sensor with
such qualities, a number of novel approaches
had to be invented by ARRI engineers on the
pixel, sensor and signal-processing levels.

Camera System
Product code name:
k ARRI Imaging Technology (AIT)
The demands on digital motion picture
cameras are unique and in order to
achieve the best in image performance,
workflow efficiency and product quality,
we have developed a comprehensive
collection of new high-tech components.
Having full control of the imaging chain
down to the smallest detail allows a perfect
optimization of the whole system.
The ARRI Imaging Technology (AIT)
platform consists of the new, custom
designed ALEV III CMOS sensor, a high
performance optical low pass filter pack,
a powerful hardware imaging engine,
advanced image processing firmware
and a number of unique image processing
steps.
A-EV A-EV Plus A-OV-Plus
Availability 2010 06 2010 09 2010 12 (1)
Sensor pixel count 3.5 K 3.5 K 3.5 K
Aspect ratio of sensor area used 16:9 16:9 4:3
Base sensitivity 800+ EI equivalent 800+ EI equivalent 800+ EI equivalent
Frame rate 1 - 60 fps 1 - 60 fps 1 - 60 fps
Viewfinder electronic electronic optical
HD on-board recording (2) ◊ ◊ ◊
ARRIRAW on-board recording,
uncompressed (2) – ◊ ◊
Integrated wireless remote control – ◊ ◊
(1) Earlier for D-21 owners who are upgrading
(2) By ARRI and third parties
k The ARRI Electronic Viewfinder
While an optical viewfinder still provides
the best operating experience, it comes
at a price and added weight. For the entrylevel
cameras we have developed the
high resolution ARRI Electronic Viewfinder
(EVF), a viewing system that combines a
state-of-the-art F-LCOS micro display with
an innovative auto-calibrating LED light
engine, high-quality coated glass optics
and robust mechanics. The system offers
much more than a conventional electronic
viewfinder; it has been specifically designed
to meet the needs of professional camera
operators by offering high resolution, accurate
color reproduction, great ergonomics,
overscan and extremely low latency.
k The ARRIFLEX D-21
ARRI’s business model is to create products
that allow our customers to earn a living. This
includes long product cycles and a firm commitment
to protecting customer’s investments
in ARRI gear. Purchasing an ARRI camera is a
secure investment that will not be obsolete by
the next model camera. To ensure that your
investment into the D-21 maintains its value,
we will be offering attractive upgrade options
for current D-21 owners and early adopter
incentives for new D-21 customers.
By combining state-of-the-art digital technology
with more than 90 years of optical and
mechanical expertise, ARRI products continue
to offer features that other manufacturers cannot
equal. Incorporating ergonomic design
and top product quality, values on which
ARRI’s worldwide reputation is based, the
new digital camera system continues to define
the standard in imaging performance,
usability and reliability.
Marc Shipman-Mueller
Camera
05

06 Camera
> > > The ARRI Digital Camera System > > >
ALEV III
At the heart of the new camera range is the new ALEV III
sensor, which is utilized in all three cameras. It is a
35 format single sensor with a spectacular base
sensitivity of 800+ EI equivalent and an extremely wide
exposure latitude. To create a sensor with such qualities,
a number of new and novel approaches had to be
invented by ARRI engineers and leading sensor design
experts on the pixel, sensor and signal-processing
levels.
III III III
Design Goals
In creating the list of requirements for this
new sensor, the same method was used
as previously employed for the design
of many other ARRI products: First, a
thorough investigation of the underlying
technology was conducted in close co-
operation with the world’s foremost experts
on sensor design. This was combined with
extensive discussions with motion picture
industry experts and our own experience
in digital cinematography. The result was
a list of market needs and requirements:
the 35mm format sensor size with a maximum
4:3 aspect ratio, compatibility with existing
PL mount lenses, an organic film-like look,
2k data and HD video outputs of the camera,
ultra high sensitivity and a wide exposure
latitude.
35 Format, PL Mount Lenses and the Look
The 35mm format was requested by cinematographers
because of its shallow depth
of field, which allows them to apply selective
focus in order to guide the attention of
the audience in the frame. To ensure compatibility
with all PL mount lenses, including
anamorphic lenses, we have gone the relatively
difficult route of designing a sensor
with a true 35mm format width and a maximum
usable area with a 4:3 aspect ratio.
While we had investigated various other
sensor technologies (CCD and CMOS) and

The ARRI Digital Camera System > > > >
An Innovative Sensor with Unprecedented
Sensitivity and Latitude
approaches in the quest for higher sensitivity
and wider latitude, a state-of-the-art Bayer
mask CMOS sensor turned out to be the
optimal solution.
The D-21 has been praised for its organic
and film-like look, natural colorimetry and
image sharpness. To maintain those qualities
in the new camera system, we again employed
CMOS sensor technology (partly based on
the D-21 sensor design) and are using image
reconstruction software that is a further
evolution of the D-21 software.
Optimum Pixel Size and Pixel Count for
HD Video and 2k DI
Our goal was the creation of amazing
images with outstanding sensitivity, latitude,
colorimetry and image sharpness.
Contrary to popular opinion, more pixels
are not always better, and for a given
output format, pixel size and count have
to be carefully balanced for optimum
image quality. Since the main uses for
digital cinematography cameras are HDTV
and feature films, our target output formats
are HD video and 2k data, the currently
The ALEV III sensor design provides 32 pairs of
outputs. Each channel is divided into a high gain
path (H) and a low gain path (L), resulting in 64
channels arriving at the 14 bit A/D converters. In the
final images the lowlights are reconstructed from the
high gain path and the highlights are reconstructed
from the low gain path for an image containing
meaningful information in all 16 bits.
pixel array
32 output channels
H L H L amplifiers H L H L
64 output channels
Camera
reigning standards in their fields. Uncompromised
4K resolution will, for some time
to come, remain the domain of 35mm film,
as proven by the recent ASC/PGA and
BSC camera evaluation tests.
Image quality is greatly affected by pixel
size: larger pixels have a higher sensitivity,
wider latitude and lower crosstalk, while
smaller pixels provide better spatial resolution
and better alias suppression. In addition,
larger pixels lead to lower data rates and
therefore to more efficient data handling
07

08 Camera
> > > The ARRI Digital Camera System > > > >
within the camera. Employing relatively
large pixels means we are not forced to
use data compression for the ARRIRAW
outputs, and thus can provide uncompressed
and uncompromised image
quality. Given the requirements to create
a single 35 format sensor with HD/2k
output, a 8.25µm pixel size (an unusually
large pixel in today’s world of tiny cell
phone sensors) and a 3.5k pixel count
was found to provide the optimum image
quality.
From a 3.5k sensor the camera can generate
the highest quality images in HD
video or 2k DI, a concept that has been
proven by the D-21 for years. It does
this through oversampling, whereby
more pixels are captured from the
sensor than are required for the output
format, and the image is downscaled
by the image processing firmware. For
example, 2880 x 1620 sensor pixels
are down sampled to 1920 x 1080 for
the HD outputs, or 3072 x 1728 sensor
pixels are down sampled to 2048 x 1152
for a 16:9 2k DI. The A-OV Plus camera
will be able to use respectively more pixels
for 4:3 formats from the total sensor pixel
count of 3392 x 2200. To provide some
extra area around the primary image in
the ARRI Electronic Viewfinder, 10 percent
more pixels have been added on the
sensor for each respective format.
ALEV III sensor prototype
A first test image taken with the ALEV III sensor prototype and, for comparison, with “competitor A”
ALEV III sensor prototype
An enlargement shows the differences in the image structure. Higher sensitivity and a wider
ALEV III sensor prototype
It is common practice during color timing to use power windows to get the most out of the
captured images. The incredible exposure latitude of the ALEV III sensor prototype provides an
enormous amount of information even in the darkest parts of the image, where other cameras

The ARRI Digital Camera System > > > >
competitor A
competitor A
exposure latitude provide significantly cleaner images when shooting in low light.
competitor A
just see black. This translates into more creative choice during color timing, as well as the
ability to “fix” underexposed images to a far greater extend than previously possible.
High Sensitivity and Wide Exposure Latitude
Higher sensitivity and a wider exposure latitude
expand the cinematographer’s toolset
for greater flexibility and efficiency on the set.
In addition, they also greatly reduce effort and
cost during post production, when attempting
to get the most out of the captured images.
The new ALEV III prototype sensor already
shows a sensitivity of 800+ EI equivalent and
an extremely wide dynamic range. To achieve
such performance, the inherent advantages
of the larger pixels have been combined
with a number of novel techniques, including
a special sensor design called Dual Gain
Architecture (DGA).
For highest sensitivity and lowest noise in a
CMOS sensor, a high gain must be applied
in the early stages of the readout path. However,
this high gain sacrifices some highlights
because the voltage swing on the readout
path is very limited. As a result, highlights get
clipped. To overcome this problem, DGA
provides two separate signal paths from
each pixel to the A/D converters, each path
with different amplification (gain). The first
read out path contains the regular, high gain
signal. The signal in the second readout path
has significantly lower gain, and thus can
capture the information that is clipped in the
high gain path. The camera’s 14 bit A/D
converters then deliver two 14 bit images,
that are re-combined to a single 16 bit high
dynamic range image.
Dr. Achim Oehler, Michael Cieslinski,
Marc Shipman-Mueller
Camera
09

10 Camera
> > > The ARRI Digital Camera System > > > >
The ARRI Electronic Viewfinder
With an image area of 1280 x 720 pixels,
the display in the new ARRI Electronic Viewfinder
(EVF) provides a resolution exceeding
that of most existing viewfinders. The
optical design and coated glass optics ensure
high contrast and low distortion while
providing an evenly illuminated viewing
area. The pixel field is flashed sequentially
with the three primary colors. Instead of
To complement our entry level digital cameras we have developed
the ARRI Electronic Viewfinder (EVF), a viewing system that combines
a state-of-the-art F-LCOS micro display with an innovative auto-
calibrating LED light engine, high-quality coated glass optics and
robust mechanics. The system offers much more than conventional
electronic viewfinders; it has been specifically designed to meet
the needs of professional camera operators with high resolution,
accurate color reproduction, carefully considered ergonomics,
overscan and extremely low latency.
having to divide the pixels into different
colors by filters, 96% of the display area
actually forms an image, and therefore
drastically reduces visible pixel structure.
At the same time, the high refresh rate of
the display effectively suppresses the
flicker and color-breakup often associated
with other sequential systems. The unique
auto-calibrating, temperature controlled
LED light engine ensures true and reliable
color representation over a wide variety
of operating conditions. A proprietary connection
to the camera, and a design that
maximizes the processing power of both
cameras and viewfinder, lead to an extremely
low latency, so the action seen in
the viewfinder is always the same as the
action in front of the camera.
Given the large format of the new image
sensor, the electronic viewfinder can also
display an over-scanned viewing area that
surrounds the recorded format. Zoom and
overlay options aid in the judgment of focus
and exposure while clearly laid out graphi-
cal information provides a quick overview
of camera status.
The viewfinder was not only developed to
provide the best possible image, it was also
specifically designed to fit the ergonomic
needs of the operator. Even when using a
matte box on a short prime lens, the compact
dimensions of the finder guarantee that the
eyepiece can be adjusted to a comfortable
position for shoulder operation. The small,
self-contained unit can also be easily
mounted in different positions relative to
the camera, depending on the application.
Combining the advantages of an electronic
display with the viewing quality operators
have come to expect from ARRI cameras,
the new electronic viewfinder is a flexible
and economical complement to high-end
optical viewing systems.
Michael Koppetz

The ARRI Digital Camera System > > > >
Measuring
and Communicating
Sensitivity and Contrast Range
In our extensive discussions with cinematographers
it has become clear that the camera’s
sensitivity and contrast range are far more important
than having even more pixels. Unfortunately,
there is neither a standard method
for measuring sensitivity and contrast range,
nor is there a standard across different industries
for how to express those photometric performance
characteristics in product literature.
For instance, while in cinematography and still
photography sensitivity is normally measured
in EI or ASA, broadcast cameras are measured
according to the aperture number f, which is
necessary to avoid clipping at an 89% reflection
of 2000 Lux. This broadcast method, however,
is difficult to reproduce and values from different
manufacturers are hardly comparable.
This poses an even greater problem, as professional
moving image productions now use
camera systems of all types, including cell
phones, still cameras with HD output, pro-sumer
video cameras, professional video cameras
and top of the line single chip large format
digital cameras.
To tackle the first issue, the missing standard
for measuring sensitivity and contrast range of
a camera system, the ARRI Central Quality
Management department has developed a
Dynamic Range Test Chart (DRTC). The DRTC
is a new testing method, which can show up
to 15 stops in one frame. A detailed description
of the issues concerning the exact measurement
of sensitivity and contrast range will be made
available later and will appear in the SMPTE
Journal. At IBC there will be a setup demonstrating
how the new method works.
Until a broad consensus has been found regarding
how to express sensitivity and contrast
range, it seems best to use the very
pragmatic approach to provide the data in
all currently used forms common in still photography,
broadcast and cinematography, at
least as long as they are reproducible and
without too many variables.
• Contrast range in f-stops, measured with
the DRTC
• Sensitivity in ASA (relative to a known
standard i.e. 500 ASA Vision 3)
• Sensitivity based on Exposure Index
• Signal to noise ration (SNR) for a 5%,
50% and 90% y-signal level
Below are the measurements of the new
ARRI ALEV III sensor prototype compared
with a leading competitor.
Dr. Hans Kiening
photometry comparison
ARRI ALEV III sensor prototype / competitor
luminance scaled to 1
1.0
0.9
0.8
0.7
0.6
0.5
0.4
0.3
0.2
0.1
0.0
signalpath log / T2
signalpath: log with offset corr.
0.05
0.04
0.03
0.02
0.01
0.00
13.0 12.1 11.3 10.0
Δ ≈ 1 f-stop
New ARRI ALEV III sensor prototype
Dynamic Range: 12.1 f-stops with ARRI Dynamic Range Test Chart
SNR 5%, 50% 90%: 26.88; 49.58 dB with ARRI Dynamic Range Test Chart
sensitivity: 800+ ASA based on Exposure Index
sensitivity: 1000+ ASA relative to 500 ASA Vision III
Competitor
Dynamic Range: 11.3 f-stops with ARRI Dynamic Range Test Chart
SNR 5%, 50%, 90%: 20.67; 49.60 dB with ARRI Dynamic Range Test Chart
sensitivity: 400 ASA based on Exposure Index
0.42
dynamic range
0
first field with Modulation is just before clipping
Gamma 0.6
0.65 0.42 0 0
1.47 1.25 0.94 0.72
3.16 2.94 1.95 2.18
5.7 4.47 4.16 4.39
6.51 6.28 5.74 5.96
Dynamic Range
∼ 12.1 [f-stops]
8.2 7.98 6.99 7.22
10.71 10.48 9.23 9.45
11.5 11.28 10.84 11.06
13.27 13.05 12.08 12.31
15.8 15.58 14.28 14.5
darkest field above noise level
Gamma 3
The new ARRI Dynamic Range Test Chart provides
more than 15 f-stops dynamic in one test chart. An
overlay with spatial content clearly shows the
clipping points of a camera system.
800 ASA
400 ASA
16.0 15.0 14.0 13.0 12.0 11.0 10.0 9.0 8.0 7.0 6.0 5.0 4.0 3.0 2.0 1.0 0.0
f-stops
12.08
12.31
new ARRI ALEV III sensor prototype
Competitor
Camera
11

12 Camera
LIFE ON PROBATION:
DoP Christoph Keimel
ARRIRAW
Uncompressed
12 Bit, Linear
Bayer-Sensor Data
Transported via
SMPTE 372M
ARRIRAW
Uncompressed
12 Bit, Linear
Bayer-Sensor Data
Header / Metadata
For Example
YCrCb Rec 709
or
RGB DCDM
ARRIFLEX
D-21
ARRI T-Link
ARRIRAW
Recorder
.ARI
S.two DPX
Codex DPX
Postproduction
Master
Glue Tools
ARRIRAW Toolkit
Final Cut Studio
LAND OF FIRE – Azerbaijan Documentary
POMFORT fn
SilverStack &
Cinemator
ARRIFLEX D-21
S.two
DFR2K-AR
Pomfort
SilverStack &
Cinemator
ARRIRAW
An Update on
The increasing interest in data centric and especially raw data workflows has led to the availability of native ARRIRAW
support in a wide range of equipment, tools and services resulting in convenient ARRIRAW solutions.
Since the introduction of the Data Mode the
D-21, and thus ARRIRAW, support has been
successfully implemented in several recorders,
software applications and service offerings
from equipment manufacturers and postproduction
facilities. At ARRI’s NAB User Group
Meetings the ARRIRAW website –
www.arri.de/arriraw as well as the ARRIRAW
Partner Program were launched. Participation in
the program gives developers access to ARRIRAW
specific information. The Partner Program has been
very well received and there is a constantly growing
number of participants such as Digital Vision, DVS,
Filmlight to name just a few. For further information
on the ARRIRAW Partner Program please
contact awidera@arri.de.
ARRIRAW means uncompromised, uncompressed
pure sensor data for highest image
quality demands. Furthermore it permits
maximum flexibility in postproduction. “The
many D-21 ARRIRAW projects we have supported
have produced spectacular results,”
notes Chris Romine, President of S.two Corp:
“The feature films showcased the superior dynamic
range and additional latitude offered
by ARRI's raw data format, while proving
that a high quality project can be produced
economically. The D-21, when used in the
ARRIRAW format, has proven to be the superior
digital cinematography camera on
the market today.”
Codex
High Res
Media Recorder
IRIDAS
Speedgrade
FrameCycler
Keisuko Giken
UDR-D100
ARRI Plugin for
Avid Metafuze &
Avid DS
TM
Cameras
Recorder
Postproduction Tools
To provide a simple method to transport ARRI-
RAW data from the camera to a recorder
over standardized HD-SDI Dual Link interfaces,
ARRI did develop ARRIRAW T-Link.
The ARRIRAW T-Link certificate helps to identify
appropriate recorders, which capture
the Data Mode stream of the camera and
generate ARRIRAW files.
ARRIRAW T-Link Certified Recorders
In postproduction ARRIRAW files need to be
either processed and transformed into a file
format of choice or natively supported by
the various applications used. The latter preserves
the raw file inherent flexibility most
conveniently.
With the ARRIRAW Converter (ARC), ARRI
offers a free software tool to view, process
and convert ARRIRAW data in production
quality. Linux and Windows installers can
be downloaded at www.arri.de/arriraw.
Further information on ARRIRAW in general
or support on how to use the ARRIRAW
Converter, are available through
ARRIRAWSupport@arri.de.
Several partner products provide native
ARRIRAW usage in well known and established
environments.
Most recently Israfil Agazadeh owner of Baquan Cinema Company produced a documentary on
the history of Azerbaijan for the Ministry of Foreign Affairs. For LAND OF FIRE a file based raw
data workflow was chosen. The D-21 was used in Data Mode and the ARRIRAW image data was
recorded on an S.two DFR2K-AR to preserve the uncompromised image quality and the superior
dynamic range. ARRIRAW was ideally suited to cope with the high contrast levels of the Azeri
Scenery. It made the requested look possible and offered incredible flexibility in postproduction.
Cinematographer Israfil Agazadeh with D-21 on
location in Azerbaijan
ARRIRAW T-Link Certified Recorders
• S.two DFR2K-AR, k www.stwo-corp.com
• Codex Recorder, k www.codexdigital.com
• Keisuko Giken UDR-D100, k www.keisoku.co.jp

photo: Johannes Christian Michel
ARRIRAW
ARRIRAW Capable Tools
Glue Tools' ARRIRAW Toolkit provides Quick-
Time compatibility. Once installed, Apple's Final
Cut Studio package as well as many other Quick-
Time aware applications will work natively with
*.ARI files (native file format). Even the Macintosh
itself will display thumbnails of the *.ARI files
and display header information as needed.
Pomfort’s SilverStack/Cinemator offers lightweight
but professional handling of ARRIRAW
image sequences. It is a unique software tool
for inspecting, managing, previewing image
sequences and for batch creation of digital
dailies and QuickTime movies on Macs.
With the RealTime RAW technology IRIDAS
products contain ARRIRAW support for real
time playback and processing. The Speed-
Grade products allow users to color correct
ARRIRAW material directly for digital dailies
ARRIRAW Capable Tools
• ARRI ARRIRAW Converter, k www.arri.de/arriraw
• Avid ARRIRAW Plugin for Avid Metafuze, Avid DS, k www.avid.com
• Digital Vision Nucoda, k www.digitalvision.se
• DVS Clipster, k www.dvs.de
• Filmlight Baselight, k www.filmlight.ltd.uk
• Gluetools ARRIRAW Toolkit, k www.gluetools.com
• IRIDAS Speedgrade, FrameCycler, MetaRender, k www.iridas.com
• MTI Film Control Dailies DA, k www.mtifilm.com
• Pomfort Silverstack/Cinemator, k www.pomfort.com
LIFE ON PROBATION – Germany, an anamorphic short film
DoP Nigel Bluck
checking the D-21
and final finishing. “The ARRIRAW workflow
ensures that the high fidelity of the D21 images
is available at the final stage of the
digital processing pipeline,” said Lin Kayser,
CEO of IRIDAS, “This results in a significant
increase of latitude available to the colorist.”
ARRIRAW Plugins for Avid Metafuze and
Avid DS allow complete ARRIRAW offline-toonline
workflows on Avid systems. Dirk
Weinreich, Product Specalist – Post Production,
Central Europe from Avid states: “The Avid
Metafuze application with a new PlugIn developed
by ARRI in Munich allows us to transcode
*.ARI Files to MXF and offers new DI workflows
between the D-21 Camera, Avid Media
Composer and Avid DS v10.1.2. This is what
our High-End customers were waiting for!”
The Plugins are going to be released at
IBC 2009.
Availability of ARRIRAW postproduction tools
for Linux, MacOS and Windows allows users
to choose the best fit for their needs. Together
with the partners a high level of integration
into existing, well established workflows has
been reached. An overview of the principal
ARRIRAW workflow as well as appropriate
equipment and tools is given in the ARRIRAW
Workflow Equipment chart. ARRI is also glad
to see a growing number of postproduction
houses that have proven ARRIRAW workflows.
ARRIRAW equipment, tools and workflows
have grown mature and an increasing interest
in Data Mode productions is perceived.
A short list of some ARRIRAW productions is
given below.
Adrian Widera
HANDSOME HARRy
Nigel Bluck, DoP:
Camera
Capturing ARRIRAW was a
great way to have all the information
possible at hand
at the post end especially
as we were shooting anamorphic
therefore we needed
all the information from
the whole image area of the
sensor.
Some D-20/21 Data Mode Productions
• KRABAT – Germany Feature Film; 3 Days VFX Shots
• THE BUTCHERS SHOP – UK / USA Art Installation Short Film
• SKELETONS WARMING THEMSELVES – UK / USA Art Installation Short Film
• THE BOAT THAT ROCKS – UK Feature Film; 1 Day VFX Shoot
• LIFE ON PROBATION – Germany; Anamorphic Short Film
• HANDSOME HARRY – USA; Anamorphic Feature Film
• LAND OF FIRE – Azerbaijan Documentary Film
• FIVE KILLERS – France / USA; $60M Anamorphic Feature Film
13

14 Camera
NoUS TRoIS
NOUS TROIS, the first feature film shot using the ARRIFLEX D-21 Mscope widescreen format, is due to be
released next year. Produced by Babe Films and PTD Studio, the touching French drama stars Emmanuelle
Béart and was directed by Renaud Bertrand. The production used Hawk Anamorphic lenses with the D-21
camera, which captured two HD streams that combine to form the high resolution Mscope image.
ARRI News spoke with cinematographer Yves Cape about his experiences shooting in Mscope.
?: What kind of film is NOUS TROIS and
what was your visual approach?
yves Cape: NOUS TROIS is the story of a little
boy who dreams about a better life for his
mother. He has the feeling that she is not
very happy, so he decides to try and make
her fall in love with the neighbour. It’s all seen
through the eyes of a little boy, but turns out
to be very dramatic. The film takes place in
1970s Paris and lots of films set in that period
create a look where the images themselves
appear dated. Renaud wanted to do something
different; he wanted the set decoration
and the costumes to place the film in the
1970s, but the image to be contemporary.
?: The film was shot in Mscope on the D-21.
Were other formats considered?
yC: When I got involved it had already been
decided that the film would be shot on video
and the idea was to shoot with the Sony F900.
I had previously made some tests of the ARRI-
FLEX D-21 for a different film; I compared
shooting anamorphic and outputting RAW
data with 4:4:4 in Super 35mm [using spherical
lenses and cropping to 2.35:1]. Although
in the end we didn’t use the D-21 for that
project, I did discover that the visual quality
was perfect and established a postproduction
workflow with Frederic Savoir at Amazing
Digital Studios in Paris. It’s a small facility
and Frederic can easily handle the signal in
both 4:4:4 and RAW. When I joined NOUS
TROIS I went to the producer and suggested
the D-21.
?: Was your producer sympathetic to the
idea of digital anamorphic?
yC: Our producer Fabio [Conversi] really
cares about the look of the films he produces;
he used to be a DoP and he’s a real fan of anamorphic.
Initially we thought about shooting
RAW, but the production company couldn’t
work with Frederic at Amazing because of
the long-lasting relationship they had with
LTC Laboratories, and LTC told us it would be
difficult to work in RAW. One day I got a call
from Fabio; he had read an article on the
ARRI website about Mscope and thought we
should make some tests. I was a bit worried
initially about how [dual] 4:2:2 would compare
with RAW, but the tests looked great
and I realised there was no problem.
?: What kind of tests did you do?
yC: We shot tests with one of the actors on
our set, which was already built. We shot
about ten different setups – inside, outside,
wide shots and long shots, dark shots and
bright shots – in the three formats: 4:4:4
[spherical], 4:2:2 Mscope and anamorphic
RAW. I was very surprised by how close the
quality of Mscope was to the 4:4:4 and the
RAW. For sure there is a difference between
Mscope and RAW anamorphic in terms of
definition, but not that much; I can see it, but
a lot of people would never see it.
?: Did the tests go through a full postproduction
pipeline?
yC: Everything was graded in Lustre and shot
out to 35mm on an ARRILASER; then we
would project the same shot in the three formats
one after the other on a big screen. Our
main concern was the resolution, but it was

The first Mscope feature
soon clear that Mscope was suitable for
theatrical release. We experimented with
sharpening the Mscope image and I found
that although I didn’t want to apply sharpening
to every shot, it could be useful for
certain things. On this film we had two actresses
who were worried about how they
were photographed, so on set I was adding
some diffusion. For this reason I wanted
to add sharpening selectively in Lustre rather
than apply it to everything with the ARRI-
LASER.
?: What did you do about rushes during
the shoot?
yC: Every two days we sent our tapes off
and got back a DVD with full resolution
QuickTime files, which were also put up on
a website. The files were direct transfers
from our tapes so there was not too much
compression and the resolution was very
good. We also did things like putting dailies
on an iPod Touch for the script girl. I personally
had all the dailies on a USB key that I
carried around with me, so I could show
images to the set decorators or actors, or
anyone else.
?: Did you use different ASA ratings with
the D-21?
yC: No, although I did some tests with the
different ASA settings and discovered that
320 ASA was the limit of what I was happy
with. We had some night scenes and some
difficult interiors that I thought would need
the 320 ASA, but in fact it was fine to use
200 ASA so we never went higher than that.
I’m used to using 500 ASA film stock for darker
scenes, but adapting to a 200 ASA rating on
the D-21 was not a problem. My lighting list
was probably a little bit bigger than it would
have been with 35mm, but that was mainly
because I wanted some security; I don’t think
it was actually necessary.
?: What was your experience of operating
with the D-21?
yC: The main difference is the viewfinder.
For me the minimum on a camera is an
optical viewfinder and the D-21 has that.
You can see the actors and the lighting,
and it’s just a pleasure because it’s what
I’m used to. With an electronic viewfinder
you can’t really judge anything; if you
True Anamorphic and beyond HD
don’t have an optical viewfinder it’s not a
real camera for me.
?: What monitors were you using on the set?
yC: We had an Astro on the camera and I
used the waveform occasionally, but I preferred
to use my light meter because if you
don’t have strong whites in an image the
waveform tempts you to open up the lens
when you don’t really need to. We also had
a 17” HD monitor and it can be useful, but the
problem is that once you have a monitor there,
the whole crew tends to stand in front of it.
For me it’s not really necessary; it’s certainly
possible to do a film without that monitor, and
often we used only the Astro if we were in
a tight space or outside at a location.
For more information please visit:
http://www.arri.de/camera/35_mm_digital/
mscope.html
Mark Hope-Jones
Camera
15

16 Camera
Top London-based production company
Coy! Communications recently used a D-21 Mscope kit,
supplied by ARRI Media, for a television commercial promoting Cuprinol garden products. Directed by Mark Denton
and photographed by Bob Pendar-Hughes, the 30-second spot was shot on a suburban back garden set at Black
Island Studios and sought to emulate a colourful, Hollywood musical look.
True Anamorphic and beyond HD
Mscope allows anamorphic lenses to be used
on the D-21 and captures a higher resolution
than standard HD by utilising the entire 4x3
sensor area and outputting two HD streams.
When combined and de-squeezed in post,
the two streams create a 2.40:1 image of
exceptional quality.
“I had heard about Mscope but I wasn’t sure
how far along it was,” says Pendar-Hughes.
“Mark likes to explore new technologies and
his brief was that he wanted this garden
world to be sharp and hyper-real, so I thought
Mscope would be perfect. It was great
shooting anamorphic because the Hawks
are excellent lenses and just give a certain
look. I’ve shot anamorphic on film with Mark
a couple of times before and he was curious
to see what happened when we mixed HD
with anamorphic – it was a very enticing
idea.”
Pendar-Hughes found the D-21’s anamorphic
optical viewfinder extremely helpful during
the shoot. “It’s a great advantage from a
DoP’s point of view,” he says. “You’re just so
much more connected to the image. Even
Mscope – Workflow Example
The Cinematic Look of Mscope
D-21 / D-21 HD
Anamorphic lens
squeezes the image by a
factor of 2 (circles become
ovals).
Camera sensor creates a
2880 x 2160 pixel (1.33:1)
Bayer raster image.
Image D-21 is / D-21 reconstructed HD and
downscaled to a 1920 x
1440 Anamorphic (1.33:1) HD lens image.
squeezes the image by a
Image factor is of split 2 (circles into two become
HD-SDI ovals). streams, one
containing the even, the
other Camera the odd sensor lines. creates a
2880 x 2160 pixel (1.33:1)
Bayer raster image.
MscopeTM Dado Valentic of digital lab My Therapy
handled rushes and also combined the two
HD streams after the edit. “The shoot was
two days, so at the – Workflow end of Example each day we
would dump the tapes to Betacam SP as
editing rushes that went to the edit house,”
says Dado. “Once the edit was complete
they emailed us the EDL, which we con-
Image is reconstructed A and Link
1920
downscaled to a 1920 x
1440 (1.33:1) HD image.
1440
Image is split into two
HD-SDI streams, one
containing the even, the
other the odd lines.
B Link
1920
with a high resolution electronic viewfinder
I tend not to use it – I stand by a monitor instead,
but that makes me feel disconnected.
I’ve spent most of my shooting life close to
the camera – close to the actors and the
light.”
There was a Cinetal monitor on the set, which
displayed just one of the HD streams, resulting
in a distortion-free widescreen image. “It
was very handy to be able to look at it occasionally
and the clients loved it,” continues
the cinematographer. “When I told them that
it was only half the information of the final
image they were just blown away; they walk ed
off with big smiles on their faces, which is
great for Mark because it keeps them off
his back!”
1440
2x HD-SDI 4:2:2 2x HD-SDI 4:2:2
A Link
Mscope TM – Workflow Example
HD RECORDER
Each HD-SDI stream contains
1920 x 720 (2.66:1) pixels of
image content in the 1920 x
1080 HD image.
Any HD recorder capable of
recording in dual stream mode
can capture MscopeTM images.
Examples: SONY SRW-1,
S.two HD RECORDER
DFR2K, Codex Digital.
Each Each stream HD-SDI contains stream half contains the
lines, 1920 thus x 720 presents (2.66:1) an pixels of
unsqueezed image content image in the (circles 1920 are x
circles) 1080 HD for on image. set previewing.
Any HD recorder capable of
recording in dual stream mode
can capture Mscope
1920
B
A
720 1080
B
A
1920
TM images.
Examples: SONY SRW-1,
S.two DFR2K, Codex Digital.
Each stream contains half the
lines, thus presents an
unsqueezed image (circles are
circles) for on set previewing.
1920
1920
720 1080
720 1080
STORAGE MEDIA
Both streams are
stored interleaved on
one tape or data
magazine.
B
A
B
A
POST INGEST
For off-line editing, only
one stream is used to
save bandwidth.
For image recombining,
both streams can be
ingested either in parallel
or one after another.
2x HD-SDI 4:2:2 2x HD-SDI 4:2:2
STORAGE MEDIA
Both streams are
stored interleaved on
one tape or data
magazine.
POST INGEST
For off-line editing, only
one stream is used to
save bandwidth.
For image recombining,
both streams can be
ingested either in parallel
or one after another.
1920
1920
formed on our Iridas system and generated
the Mscope image in real time.”
My Therapy has facilities to accommodate
3D mastering and found it convenient to treat
Mscope as a stereoscopic image, though
this is by no means the only workable pipeline.
“The nice thing about Mscope is that it
fits into so many different workflows; there
isn’t just one way of doing it,” continues Dado.
“Different productions will have different
ways they want to do things and it’s important
not to limit them, but with Mscope that
works absolutely fine. On this job they were
grading in an older suite so we delivered
HDCAM SR tapes for the grade. In reality
Mscope isn’t really intended for that workflow;
it’s best used for the big screen because
of the 3800 × 1080 resolution. But
the point is that any workflow is possible.”
For more information please visit:
http://www.arri.de/camera/35_mm_digital/
mscope.html
1920
1920
Mark Hope-Jones
720 1080
720 1080
720 1080
RECOMBINING
After ingest, the two
streams are recombined
and rendered in postproduction,
resulting in the
same anamorphically
squeezed 1920 x 1440
(1.33:1) HD image that was
present in the camera.
The first company to support
MscopeTM RECOMBINING
is Quantel
with After the ingest, Quantel the iQ. two
streams are recombined
and rendered in postproduction,
resulting in the
same anamorphically
squeezed 1920 x 1440
(1.33:1) HD image that was
present in the camera.
The first company to sup-
1920
port MscopeTM is Quantel
with the Quantel iQ.
1920
1440
1440
DELIVERABLES
Images are cropped and if
necessary de-squeezed to
2.40:1 and/or scaled depending
on the delivery format. Deliverables
can be a Digital Cinema
Package (DCP), a film-out or HD
letterbox versions on tape or
Blu-ray Disc.
DCP Images are cropped and if
necessary de-squeezed to
3456
2.40:1 and/or scaled depending
on the delivery format. Deliverables
can be a Digital Cinema
1440
Package (DCP), a film-out or HD
letterbox versions on tape or
Blu-ray Disc.
Film-Out
HD
DELIVERABLES
DCP
1728
1920
Film-Out
1728
3456
1440
720 1080
1440
1440

ADAM is an unconventional romantic
comedy from Fox Searchlight starring
Hugh Dancy as the title character
and Rose Byrne as Beth, his love
interest. Like with many films about
love, the different ways men and
women communicate and fail to
communicate are often the crux of the
narrative. In this case, the challenges
are confounded because Adam has
Asperger’s Syndrome, a form of
high-functioning autism that is marked
by an inability to read what other
people are feeling.
Rather than making ADAM simply about
Asperger’s, the film is a funny, charming twist
on what happens when boy-meets-girl. At
this year’s Sundance Film Festival, the film
was awarded the Alfred P. Sloan Feature
Film Prize.
Shot in 24 days over the winter of 2007, this
low budget independent film utilized the ARRI-
FLEX D-20 camera from rental house ARRI CSC,
going tapeless with S.two data recording. All
D-20s have since been upgraded to D-21s with
improved features, but ADAM remains to be
a notable film in visual design as well as a
captivating story.
Post production was handled by Digital Motion
Picture Company in Los Angeles. The filmmakers
shot in real locations around New York City to
keep the budget low and to convey the character
of the metropolis in a realistic manner. The
motivation to shoot with the D-20 likely began
with Cinematographer Seamus Tierney, whose
earlier experience with the camera system
on THE NARROWS proved to be very positive.
For co-producer Gary Giudice, the chance to
employ a tapeless workflow with the D-20 was
an exciting premise. “When I found out about
the opportunity to record to hard drive – that
was something very interesting to me. When
involved in a great project, I always like to find
something unique and interesting on another
level that gets me excited. So for me, recording
to hard drive and being at the cusp of technology
was extremely appealing.”
Goes Tapeless in the Big Apple
Aside from the camera’s workflow, the filmmakers
had to be confident about how the
images would convey the story. Notes Giudice,
“Given the visual success of the previous
project that Seamus shot with the D-20 on
THE NARROWS, there was a lot of comfort that
we could create high production value and
the look that we wanted with this format.”
There are hundreds of independent features
made each year with the hopes to attract distribution
and Giudice contends that the D-20’s
filmic style definitely helped with ADAM’s marketability.
“From my standpoint, I was very,
very pleased with the way the film looked,” says
the producer whose credits include FAMILIAR
STRANGERS and TURN THE RIVER. “Certainly
I think that is one of the contributing factors
to the movie getting picked up [by Fox Searchlight].
In addition to the great story and great
acting in ADAM, I think you do need to have
production value that’s equivalent to what is
out in the marketplace of $10-$20 million films.
I think that the beautiful look can certainly be
credited to both the D-20 and also to Seamus’
talents.”
ADAM was released July 29 in select theaters.
An Tran
PHOTOS: JULIA GRINER
PHOTO: SCOTT GARFIELD
Rose Byrne (left)
and Hugh Dancy
Director Max Mayer (left)
Rose Byrne (left) and Hugh Dancy
Camera
F.l.t.r.: Rose Byrne, Peter Gallagher and Amy Irving
17

18 Camera
ARRIFLEX D-21 Around
the World
Director Andrei Kavun (left) and DoP Sergei Mikhalchuk
Shooting THE QUARTET with the ARRIFLEX D-21
Jebsen and Arrow Studio in Taiwan recently
conducted an extensive camera comparison
shoot, which looked at material shot by a
435 Xtreme, a Sony F35, and an ARRIFLEX
D-21 – the most frequently sold camera in
the Asian market.
Taipei Postproduction Company was invited
to support the digital workflow and the postproduction
of captured footage. During the
Russia: ARRIFLEX D-21 selected for
high-profile production
RUSSIA: THE QUARTET (working title), is a
65,000,000 Rouble production directed by
Andrei Kavun (nominated for an International
Emmy Award in 2005 for his World War II
drama series THE CADETS) and shot by DoP
Sergei Mikhalchuk (winner of Best Photography
at the 50th San Sebastian International
Film Festival for THE LOVER).
After shooting with the ARRIFLEX D-21 for 30
days Sergei Mikhalchuk reported: “It is a big
advantage that you can operate the D-21 like
any other film camera, especially due to the
superb optical viewfinder. We were able to
use the same set of high quality cine lenses
and accessories. There is a big demand for
new productions in Russia, and in comparison
to other digital cameras available the
D-21 is the “Mercedes” for us.”
Line Producer Vladimir Dubrovin commented:
“The D-21 was our DoP’s choice. At first we
resisted, since nobody had completed such
a big production with it here in Russia, but
we haven’t regretted his choice. From a production
point of view, this camera gives you
film quality while making you independent
from the lab – from scanning etc.”
Franz Koch
Taiwan: Arrow Studio invests in two D-21s after test shoot
test, the D-21 was operated in its ARRIRAW
Data Mode and recorded uncompressed with
12 bit 3k resolution to a S.two DFR recorder.
The test was carried out by Mr. Chin Ding
Chien, the DoP of Taiwan’s most popular
movie of 2008, CAPE NO. 7. During the
shoot the cameras were tested in identical
conditions with various lighting setups, both
in the studio and on location, in order to
extensively compare their performance in
areas such as contrast and shadow detail.
Captured footage was then sent to Taipei
Postproduction Company for a DI, where
material from all three of the cameras was
recorded out on film and projected in a
screening room to compare the image quality.
When the Taiwanese directors and DoPs
were invited to view the results, they were
very pleasantly surprised at the D-21’s high
image quality.
As a result of the ARRIFLEX D-21’s performance
in the test, Arrow Studio decided to invest in
two cameras and S.two DFR recorders. Now
the D-21 is ready to service filmmakers of the
Great China Area – with cameras available
from Arrow Studio in Taiwan and full postproduction
support available from Taipei
Postproduction Company.
As a result the D-21 has already been used
for an MTV shoot, a commercial, and the
feature film BLUE BIRD (working title) is currently
in postproduction.
Grace Wang
Kenny Lin (left) and Aron Lin, ARROW
f.l.t.r: Glavin Huang (Jebsen TW), Roman Gadner and Paul
Ivan (ARRI), Kenny Lin (GM of Arrow), Vicki Kao (management
of Arrow) and Jeson Hao (Jebsen Shanghai) at the Golden
Horses Award for CAPE NO. 7

Philippines: D-21 production KINATAY
wins Best Director Award at Cannes
In 2008, CMB Film Services Inc. became the
first rental house in the Philippines to invest in
the ARRIFLEX D-21. The very same camera
went on to be used to shoot the award winning
film KINATAY, which won the Best Director
award for Brillante Mendoza at the
Cannes International Film Festival 2009.
Mendoza actually became the first Filipino to
win this award for a full-length feature film.
Recently the ARRIFLEX D-21 has been used
for several commercials produced by major
advertising agencies and production houses.
With demand growing for the D-21 Jim
Baltazar, owner of CMB, has just purchased
another camera. In total, CMB plans to have
at least four or five ARRIFLEX D-21s in their
rental fleet.
The first official ARRIFLEX D-21 event in
Korea was recently hosted by ARRI Asia.
Leading representatives from all fields of
the industry, including DoPs, gaffers and
owners of rental houses, came to a workshop
in Seoul held at KOFIC’s (Korean
Film Council) main theatre.
Unlike a typical presentation with a subsequent
Q&A session, this event was interactive
right from the start. Participants
were encouraged to set up the system and
to raise their specific issues for discussion.
The two-day event was aimed at introducing
the D-21 and its Data Mode workflow using
an S.two DFR recording system – a very welcome
opportunity to discover the full potential
of the system and the related workflows.
Although the D-21 was brand new to participants,
they were comfortable handling
the system due to the great similarity with
existing ARRI film cameras. Scenes were
planned and shot on the first day and then
Established in 1986 by Conrado ‘Dengcar’
Baltazar, a well-known Filipino cinematographer,
and his wife Emiliana ‘Miling’
Baltazar CMB Film Services Inc. is the leading
film and lighting equipment rental house
in the Philippines. Initially CMB’s core business
was focused on film equipment. With
clients like GMA Network Inc. and ABS-
CBN – both major TV networks in the Philippines
– the way was paved for the acquisition
of more ARRI cameras, lenses, and also lighting.
CMB now carries a wide range of ARRI
lighting products, including the ARRIMAX,
ARRISUN, ARRI X and tungsten lights ranging
from open Fresnel 800W and 2,000W to the
Junior 300W up to 24,000W. Current plans
also include the building of an 800-squaremeter
studio.
Tng Siew Moi
Korea: D-21 workshop held at KoFIC, Seoul
on the second day, following a DI session,
the footage was screened.
KOFIC was the ideal site for this event, as
it provides a complete pipeline of lab and
DI services. After viewing the footage Mr.
Kim, Yong Heung (KSC), an experienced DoP
who orchestrated the test shooting during
the event, made a simple but clear remark:
“Without doubt, the D-21 shows the highest
image quality I have seen from existing cinestyle
digital cameras. Hopefully, I will have
a chance to use the D-21 on my upcoming
projects.” Mr. Oh, Byeong Geol, Senior
Colourist at KOFIC, underlined this view by
stating: “Soon after I got the footage on the
DLP, I realized that it is unsurpassable in image
quality, and the best that I have dealt with
for many years.”
ARRI Asia would like to thank all participants
in this event, particularly to KOFIC for its support
and cooperation.
Jessica Choy
DoP Boy Yniguez shooting on location in Batangas for PARANGAL
The cast from K i n a t a y
Tng Siew Moi (left), Cine Equipment, with Emiliana (right)
and Jim G. Baltazar (middle) CMB Film Services
The participants of D-21 seminar at KOFIC
Camera
DoP Kim, Yong Heung with his model Kim, Ta Yeon
setting up a shot
19

20 Camera
Academy 1:2.35
anamorphic (factor 2)
22.0 mm x 18.7 mm
4 perforation
Anamorphic De-Squeeze
Don’t we all love those great
images, majestic landscapes,
filmed in the wide screen
format? Sure we do.
Over the years, 1:2.35 turned
out to be an ideal aspect ratio
for film. But what about the
video assist when filming
anamorphic?
ANSI Super 35 1:2.35
anamorphic (factor
1.3)
24.9 mm x 13.8 mm
4 perforation
ANSI Super 35 1:2.35
anamorphic (factor
1.3)
24.9 mm x 13.8 mm
3 perforation
Unfortunately, with standard (spherical) lenses
the film stock is not used in the most efficient
way. Based on the available image size of
24.9mm x 18.7mm, which is used for example
as ANSI Super 35 1:1.33 a non-anamorphic
image is only 24.9 x 10.6mm. Some 44%
of the available image area is actually not
used this way.
To save on raw stock, the film pitch can be
set to three perforations per image. Additionally
reducing the image width to the 22mm
Academy standard, the pitch can even go
down to two perforations per image, resulting
in savings on raw stock by 25 % or even
50%. But still, we all love those great looking
images and for many of us, film is an art
based on beautiful large pictures.
This is why anamorphic lenses are still popular.
Based on the Academy standard with an
image width of 22mm, anamorphic lenses
stretch the image height form 9.36mm by a
factor of two to 18.7mm and make best use
of the image area. Almost every single film
< Anamorphic < Non Anamorphic
ANSI Super 35 1:1.33
non-anamorphic
24.9 mm x 18.7 mm
4 perforation
grain is actually employed instead of only half
of them, ensuring superior image quality.
Anamorphic lenses distort the image using
different reproduction scales for the horizontal
and the vertical axis. State-of-the-art film scanners
are able to directly import anamorphic
images. In an approach to combine the cost
savings of a 3-perforation film pitch with a
maximum use of the available area, the aspect
ratio of 1:1.3 was created. This new standard
uses a width of 24.9mm and creates images
of 13.8mm height, which perfectly matches
the 3-perforation pitch of 14.25mm.
The same 2:1 or 1.3:1 morphing factor applies
to the viewfinder system when shooting anamorphic.
For the eyepiece of a film camera it
was always easy to use another optical element
to revert the morphing by using extra
optical elements. However, this only applies
to the eyepiece: The sensor of a video assist
still gets a distorted image. Another optical
element would be too complicated and too
bulky. Furthermore, lenses with cylindrical
ANSI Super 35 1:2.35
non-anamorphic
24.9 mm x 10.6 mm
4 perforation
ANSI Super 35 1:2.35
non-anamorphic
24.9 mm x 10.6 mm
3 perforation
elements tend to pass less light through, and
finally, an image which uses the maximum
size of the video assist sensor is preferable
against one that uses only half of the sensor,
especially as the resolution of the SD video
assist sensors was already very limited. On
top of this, the new 1.3 lenses would have
created a need for another video assist lens.
As a consequence an electronic solution for
the anamorphic de-squeeze is preferable.
Mini monitors which are designed to be
used on-board for the video assist, often
had software for de-squeezing – but what
about the large standard flat screen monitors?
Very often the video assist image on the bigger
screens was distorted. Sooner or later the
film crew got used to this, and everybody
took comfort in the fact that the final images
were fine again.
With the new approach of the HD-SDI for the
ARRICAM and ARRIFLEX film cameras, ARRI
offers a perfect solution. The increased processing
power and resolution of the elec-

uilt into the ARRI HD-IVS
Bildunterschrift Bildunterschrift
tronics inside the HD-IVS, and an agreement
on patent issues enables us to offer
an electronic de-squeezing right inside the
HD-IVS. No need to search for a special
monitor with de-squeezing facilities, no
need for special lenses, and no need to
get used to distorted images on set.
A simple setting through the on-screen menu
enables to switch between standard image,
anamorphic 2:1 and anamorphic 1.3:1.
This works for all new HD-IVS, such as the
HD-IVS for the ARRICAM LT, ARRICAM ST
and the ARRIFLEX 435.
The image is squeezed vertically by either
the factor of 2 or 1.3 and is centered on
the video assist screen. The missing video
lines on the top and at the bottom are filled
with black, so the image is identical to the
wide screen format. The black areas can be
used to insert metadata, such as camera speed,
shutter angle, battery voltage or status information,
without overlaying the actual
video image.
For an optimal result, please use a 4:3 HD-
IVS lens if anamorphic lenses with a factor
of 2 are used, or a 16:9 HD-IVS lens if the
anamorphic lenses have a factor of 1.3.
This ensures that the entire screen is used.
Klaus Jacumet
Unprecedented Image Quality
• 1920 x 1080 high resolution output
• 3 stops more dynamic range than
standard def IVS
• Ground Glass Cancellation (GGC) for
a clean image
• less noise through optimized exposure
control
• sharp, high contrast image
• excellent color reproduction
10
11
1
The HD-IVS offers decisive advantages:
Screen Capture
• capture of individual HD images onto a
USB stick
• load captured images back into HD-IVS
for compare function
9
8
3
5
6
4
7
2
1 anamorphic lens
2 film with anamorphic image
3 mirror shutter
4 ground glass with anamorphic image
5 beam splitter
6 video assist lens
7 video assist ccD chip with anamorphic image
8 mirror
9 de-anamorphic relai lens
10 mirror
11 eye piece
images marked in red are anamorphically distorted
3x HD-SDI outputs
• 4:2:2 color sampling
• with overlay, without overlay and switchable
• progressive, progressive segmented frame
or interlaced output
• 23.976, 24, 25, 29.97 or 30 fps
Retains Popular IVS Features
• simple user interface
• flicker free operation
• design and optics closely integrated
into film camera
• integrated frame line inserter
• integrated text inserter
• compare life to stored image
• automatic and manual gain control
• white balance: indoor, outdoor,
manual and one-push-white
Camera
21

22 Camera
Kodak moves
in with ARRI
(f.l.t.r.) David Hill, Boris Mitchell
and Rebecca Oswald in their
Kodak Australia Sydney Office at
ARRI Australia
On 1 June 2009, the Kodak Australia Sydney Office relocated from their previous North Ryde location to join forces
with ARRI Australia in their Sydney “Silicon Valley” premises, reinforcing their mutually beneficial partnership.
Kodak and ARRI have been industry partners
for several years now and the many
synergies that exist between the two companies
make this a natural fit. David Hill,
National Sales & Marketing Manager,
Boris Mitchell, Account Manager, and
Rebecca Oswald, Sales & Marketing Support,
are now sharing the same roof with
Stefan Sedlmeier and his team within their
Macquarie Park premises.
As the industry goes through great change,
ARRI and Kodak continue to raise the bar
with their commitment to the ongoing advancements
in film technology, demonstrated
Complete Set of
Master Primes and Diopters
delivered to
Red Apple Camera Rentals in Sydney
A complete set of Master Prime lenses featuring
all fourteen focal lengths from 14mm
through 150mm plus a set of Master Diopters
and matte box accessories have been sold
to Sydney based DoP and camera rentals
owner Viv Scanu by ARRI Australia. Viv took
delivery of these high class lenses at the
beginning of May 2009 and is now the
proud owner of this comprehensive lens set.
Red Apple Camera Rentals is a full service
by Kodak’s recent introduction of the latest
Vision3 250D film stock. By extending the
Vision3 portfolio, Kodak is giving their customers
more workflow efficiencies combined
with all the existing advantages of film –
image quality, resolution, unrivaled dynamic
range, flexibility and archivability. Kodak is
very proud to now offer Vision3 in both 500T
and 250D speeds, enabling more creative
options in a wider variety of lighting conditions.
Despite today’s digital hype, film remains
the state-of-the-art image capture format
available. It enables filmmakers to work
rental house based in Artarmon, an inner
suburb of Sydney. Red Apple supplies a
complete range of the latest cameras, lenses
and accessories.
(f.l.t.r.) ARRI Australia’s General Manager Stefan Sedlmeier
with Viv Scanu, DoP, Red Apple Camera Rentals
without compromise, to bring their vision to
life in a way that no other medium can match.
Based upon customers’ expectations for the
very highest quality images – and for flexibility
and ease of use – Kodak motion picture
films continue to deliver the best images
possible for a new generation.
“Kodak is thrilled by the opportunities that
exist in working more closely with ARRI. This
move is a good example of industry partners
working together for the benefit of our
motion picture customers,” says David Hill.
For more information on Kodak products and
services, visit www.kodak.com/go/motion.

Go Wide, Wild and Wet
Underwater Cinematographer and passionate surfer Roger Buckingham ACS
took delivery of the first Ultra Prime 8R in the southern hemisphere. The lens
gets used on his ARRIFLEX 435ES.
Roger Buckingham is an Australian based
director of photography. His current area
of work is television commercials and drama
– both feature and television. He is one
of few local DP's with a recent theatrical
release of an Australian feature. Comfortable
with all DP duties, he is Australia's leading
specialist in the photography of water and
has customised equipment for this to provide
world standard imagery. Roger Buckingham
has been accredited by the ACS, the Australian
Cinematographers Society, in 2000.
Some of his recent work covers prime time
series like BLUE WATER HIGH, SEA PATROL
and EAST OF EVERYTHING as well as theatrical
releases such as FOOLS GOLD, WHERE
THE WILD THINGS ARE and GHOST RIDER.
In March 2009 Roger took delivery of his
Ultra Prime 8R/T2.8 lens to be used under
dedicated shooting conditions, mainly feature
and TVC's. This extreme wide angle lens is
providing a unique look unparalleled by
any other lens in the film and video world.
Because of its rectilinear design it shows an
extremely wide angle of view without any
of the commonly associated fisheye distortions.
Several tests at ARRI Australia have been
performed to demonstrate the excellent performance
of this lens and to accommodate
any customer request before, during and
after the successful sale. The team was
working with Roger in the lens test room as
well as on the camera and Roger has carefully
chosen this lens over any other product
of its style. Once more it has been proven
that such kind of specialised equipment as
the Ultra Prime 8R requires product knowledge
and on-site support as well as a sales
demonstrator for test purposes. Especially
in the motion picture industry customers
love to evaluate the fidelity of an optical
component, which will contribute to their
experience and success.
Photo: Marcus Hides
Photo: Jared Rogers
Camera
Roger Buckingham ACS with his
Underwater Housing
accommodating the ARRIFLEX 435ES
Photo: Chris Miller
Roger Buckingham ACS setting up his Ultra Prime 8R lens
at Newport Beach, Sydney
(f.l.t.r.) ARRI Australia’s Camera Engineer Rey Adia,
Roger Buckingham ACS, General Manager Stefan Sedlmeier
23

24 Digital Intermediate Systems
Relativity SpaceTime-GUI
In essence, ARRI Relativity allows users to
alter shots in ways that appear as though
they were achieved in-camera. Digital images
can take on the look of film while film
images can be selectively degrained; shots
filmed at a particular frame rate can be expanded
or contracted to other frame rates
and one format can become another. Decisions
that once had to be made on set can
now be made in post.
Texture Control
With Texture Control, ARRI Relativity permits
absolute control of the texture, grain
and noise of images acquired in any film or
digital camera format. Grain can be removed
entirely, reduced, or even added,
allowing formats to be mixed and matched
without any textural variation. The software
easily overcomes grain difficulties that have
prompted some television broadcasters to
restrict film content, particularly Super 16
material, on HD channels.
Besides permitting new productions bound
for HDTV broadcast to be shot on Super 16,
Texture Control opens unlimited opportunities
for existing film-originated television
programs in archives across the globe to
be remastered, degrained and broadcast
A scene from WELT AM D R A HT
before and after degraining
ARRI Relativity is a powerful suite of postproduction software tools that offers
versatile control of texture, format and frame rate through sophisticated motion
estimation techniques. Modular and easily configured to meet the needs of
individual customers, the full software bundle currently comprises three appli-
cations: Texture Control, Film Simulation and Space Time Converter. The tech-
nology was developed by Cinnafilm, a New Mexico software developer,
teaming with Digital Film Central, a Vancouver postproduction facility, and is
marketed exclusively by ARRI.
ARRI Relativity
and
Future of DI
the
in HD for new generations. Inconsistencies
of grain tolerance between international
broadcasters need never be an issue again.
Texture Control also allows grain or noise
to be reduced prior to compression for Blu-
Ray and DVD authoring, and IPTV distribution,
without any sacrifice of picture detail.
Alternatively, it facilitates the production of
impressive, theatrical-quality images from
Super 16 mm or 2-perf 35 mm.
Film Simulation
As well as removing grain, ARRI Relativity
has the power to add granularity to images,
allowing digitally captured material to be
given natural film-like texture. The degree
to which grain is added, and the exact type
and size of the grain, is entirely up to the
user. 16 mm film material can be degrained
with Texture Control and then have subtle
35 mm grain applied to it with Film Simulation,
allowing it to be inter-cut with original
35 mm footage far more easily. With these
tools, film and digital formats can be mixed
and matched at will, and grain controlled
to meet the precise requirements of any
number of different delivery platforms.
SpaceTime Converter
Aside from its abilities to control grain and
noise, ARRI Relativity is an extremely useful
Original Degrain
tool for manipulating format and frame rate.
SpaceTime Converter permits any TV or
motion picture format to be transformed into
any other with features such as crop/zoom,
spatial resampling, de-interlacing and the
addition or removal of 3:2 pulldown. HD and
SD images can be converted in real time,
while audio can be converted and resampled
with or without pitch correction.
One of the most sophisticated and beneficial
features of SpaceTime Converter is its ability
to convert frame rates with an exceptional
degree of control. Slow motion and speed
ramp effects can be created without any
judder or visual degradation by introducing
newly generated frames to footage shot at
normal speeds. Advanced motion estimation
techniques ensure that additional frames
exhibit accurate motion blur, making it appear
as though the footage had been shot at
a high speed in-camera. Alternatively, simpler
conversions such as 24 fps to 25 fps or
30 fps can be made at the touch of a button,
overcoming the problems associated with
differing international broadcast standards.
ARRI Relativity Workshops
and Demonstrations
The first demonstrations of ARRI Relativity
took place in the US. Fotokem, the LA-based
facility that had been beta-testing the software,
hosted a launch event in June that was
attended by cinematographers including ASC
President Daryn Okada ASC and Vilmos
Zsigmond ASC. In New York, a seminar
was held in the DI theatre at Goldcrest Post,
hosted by Goldcrest’s Senior Colorist John
Dowdell and Managing Director Tim Spitzer.
Both events involved practical demonstrations
of Relativity’s capabilities, presented
by Glenn Kennel, Chief Technology Officer
at ARRI Inc, and demo artist Sarah Priestnall.
00:00:25:00 00:00:30:00

00:00:25:00 00:00:30:00 00:00:35:00 00:00:40:00 00:00:42:13 00:00:45:00
Relativity event
in London
Original
Following these successful events in the US,
a DI workshop was recently hosted by ARRI
in London, introducing the software to postproduction
professionals, cinematographers
and producers. A sneak preview of Relativity
at the BSC camera evaluations the day before
the workshop generated a lot of interest.
As a result, over 60 guests came along to
the screening room at the Soho Hotel, right
in the heart of London’s thriving postproduction
community. After an introduction and
welcome from ARRI (GB)’s Milan Krsljanin,
Sibylle Maier of ARRI DI Systems in Germany
gave a presentation on the latest DI developments
from ARRI, such as the ARRI LASER 2
and ARRISCAN Archive options. Following
that, Harald Brendel, Head of DI Application
Engineering at ARRI Munich, presented
the new Relativity software, with Glenn
Kennel also on hand to share his experiences
with Relativity in the US.
The positive audience reaction to the ARRI
Relativity demo reel was obvious, with
many guests expressing amazement at how
clean the degrained 16mm material looked.
After the demo reel, Harald Brendel gave a
live, practical demonstration of how the new
software can be used to manipulate grain,
formats and frame rates. As a result of the
workshop, three major London-based postproduction
facilities requested in-house product
evaluations of ARRI Relativity. There
was also a great deal of interest in the ARRI-
SCAN Archive Gate, which was brought
over from Munich for the workshop. Immediately
after the presentation, representatives
from Ascent Media borrowed the gate to test
it with some severely damaged nitrate stock
dating back to 1928. Two other facilities
also requested a trial of the Archive Gate.
www.arrirelativity.com
Original
00:00:35:00 00:00:45:00
Digital Intermediate Systems
Degrain
WELT AM DRAHT – directed by Rainer Werner Fassbinder,
filmed on 16 mm reversal film stock in 1973,
DoP Michael Ballhaus
Degrain
WAFFENSTILLSTAND is a feature film produced by the Munich based DRIFE Deyle & Richter
Filmproduction. Filmed in Morocco on S16 mm. Director Lancelot von Naso, DoP Felix Cramer
Relativity workshop at Fotokem
25

26 Digital Intermediate Systems
First Installation of the
Spring 2009 saw the release of the new ARRICUBE Creator software. With the Creator customers can generate their
own 3D LUTs either for previewing DPX or Cineon Files on a digital display in the DI suite, or for a correct conversion
of video graded material for film recording. The ARRICUBE Creator generates the 3D LUTs based on measurements
of the digital display combined with measurements of the film output. Bundled with the X-Rite Hubble colorimeter, it
gives a complete package for correct color display.
One of the first customers to officially order
the ARRICUBE Creator was WFDiF, a documentary
and feature film studio/laboratory
based in Warsaw. Jarek Migala, a DI specialist
at WFDiF, spoke with ARRI News about
how the new technology has benefited her
company.
?: When did you start doing DI work and
what equipment do you use?
Jarek Migala: Having functioned as a labo-
ratory for 60 years, we decided to upgrade
our postproduction department and invest in
equipment for the DI process five years ago.
With an ARRISCAN, Autodesk Smoke, Autodesk
Lustre and an ARRILASER, we now
offer the whole DI chain under one roof.
?: How do you ensure that colors graded in
your suite look the same in the film projection?
JM: When it was obvious that none of the
1D LUTs, or even generic 3D LUTs, would
fulfill our expectations, a custom 3D LUT
became a must. To begin with we were using
FilmLight Truelight for display calibration, but
as it is a hardware solution we could not
expect our clients to do the same. For other
stations in-house we've been using the generic
3D LUTs from Lustre Color, useful for
all Autodesk systems. Unfortunately they do
not work in all cases, for example when there
are different displays or different applications.
Therefore we were on the lookout out for a
system capable of a number of things: to
calibrate a display and create a profile of
that display; to generate custom 3D preview
LUTs for all in-house displays and for our
biggest clients; to generate custom 3D LUTs
for color space conversion (video to film, HD
or XYZ); to control the stability of display
conditions with a very precise instrument;
to indicate out-of-gamut colors.
?: What drove your decision to choose the
ARRICUBE Creator?
JM: First of all the software fulfills all our
needs and we appreciate that the LUTs are
unencrypted, so we can use them on all our
workstations in-house, but also pass them to
our clients. This avoids annoying discussions

ARRICUBE Creator Package
about why final graded material looks different
on the film recording. Besides that, we
are very happy with our close relationship
with ARRI - we use similar solutions and we
use the same terminology. So we decided to
buy the ARRICUBE Creator with an X-Rite
Hubble colorimeter.
?: How have you utilised the ARRICUBE
Creator so far?
JM: We have generated 3D LUTs for all our
in-house stations with very good results; the
color response on all displays fit perfectly.
We did two custom measurements for our
Image on screen from GWIAZDA KOPERNIKA (COPERniCUS StaR)
by Studio Filmow Rysunkowych www.sfr.com.pl
clients, to calibrate their displays to our laboratory.
We generated custom video-to-film
LUTs, which helped a lot for an animation
project where the main character has an
out-of-gamut color. Additionally, and very
importantly for us, we generated a 3D custom
conversion LUT to XYZ color space, as
from this year we have started to offer Digital
Cinema Masters. We do around 20 feature
projects per year, for both domestic and
foreign clients; with the tools we use and our
know-how, we can deliver exceptional results
for the cinema. For me ARRI has proved
their high level not only in manufacturing
hardware, but also in sharing knowledge
with their clients.
Sibylle Maier
Digital Intermediate Systems
For more information on ARRICUBE please visit:
http://www.arri.de/digital_intermediate_systems/
arricube.html
27

28 Digital Intermediate Systems
Singleflash
vs.
ARRISCAN LED + CMoS technology
= highest dynamic range
Doubleflash
The ARRISCAN utilises a unique high power LED illumination system that allows for very accurate and repeatable
exposure of the film. The possibility of upgrading an ARRISCAN 2k with the Doubleflash option provides a good
reason for having a closer look at this clever piece of ARRI technology.
Singleflash
Doubleflash
Film Stock: Kodak 5219 Vision 3 500 T
Within the ARRISCAN, high power LEDs for
red, green, blue and infrared expose the
image one color after another for a real RGB
image with the full (monochrome) 3k or 6k
sensor resolution; meanwhile the copper heat
dissipation module with active electrical
(Peltier) cooling keeps the LEDs at a controlled
temperature of 25°C for proper color reproduction.
In combination with the ARRI-designed CMOS
sensor, which can be overexposed, all ARRI-
SCANs are capable of double flashing the
film being scanned (though this is an optional
extra for the ARRISCAN 2k). For film scanning,
the image sensor needs to capture the
whole dynamic range of the source material.
The ARRISCAN calibrates its LEDs to avoid
overexposing the sensor (clipping) at the
least dense part of the film (usually the
base: d min = 0).
The higher the density of the film material,
the less light can travel through the emulsion
and reach the sensor. For a normal camera
negative the highlights will have a maximum
density of about 1.8, so these parts of the
image will only let through roughly 1/60 of
the light compared to the base.
Every imaging device is susceptible to noise.
The less light that reaches the sensor, the worse
the signal-to-noise ratio becomes, no matter
brightness 22750
22500
22250
22000
21750
21500
21250
21000
20750
20500
20250
20000
19750
19500
19250
19000
18750
18500
18250
18000
17750
17500
17250
17000
16750
16500
16250
16000
15750
15500
2.5 5 7.5 10
time (ms)
After the first exposure and the sensor readout, the
LED illumination produces a second flash with 10x
the energy.
how good the image sensor is; this is why
ARRI introduced the Doubleflash technology.
It is similar to HDR (high dynamic range) still
photography in that it adds a second exposure,
with ten times the light energy, to the
first ‘standard’ scan.
This second scan will be ten-times over-
exposed so that all image content that is
below d = 1 is lost in clipping, but the
maximum density on the film will expose
the sensor to ten times more light than in
the normal scan. A final blending of the
two scans results in a much better signalto-noise
ratio in the high densities than any
normal scan technologies.

The effects of the Doubleflash
technology on a colour wedge
exposed with an ARRILASER
In the lower and middle densities, the two xprofiles
are exactly the same. In the higher
densities, the average code values are still the
same between Singleflash and Doubleflash
(same linearity and color reproduction) but the
Singleflash scan will show higher noise levels
than the Doubleflash scan.
x-profile ARRILASER color wedge, doubleflash scan
x-profile ARRILASER color wedge, singleflash scan
What does that mean for scanning?
• The colour reproduction is exactly
the same between Singleflash and
Doubleflash.
• The Doubleflash scan takes about
twice the time of the Singleflash scan.
• The noise level differences between
Singleflash and Doubleflash only
become visible in densities above
1.6 – 1.8. For a normal camera
negative, the visible effects of this
technology are minimal. Only the
very bright / burnt-out highlights
are of sufficient density on the film
to show any difference between
Singleflash and Doubleflash.
• Print film has a much higher dynamic
range of up to d -d = 4. This is
min max
a big issue for all film digitizing
equipment using only one exposure.
The superior quality of Doubleflash
becomes more visible when dealing
Digital Intermediate Systems
First and second exposure are combined
into high dynamic range scan of difficult
overexposed material.
with higher densities. With Doubleflash
print film scanning results on
the ARRISCAN are a lot cleaner
than Singleflash scans or scans
made with traditional equipment.
• When film is overexposed, most of
the image information is located in
the high densities of the negative.
In the grading process the image
brightness has to be pulled down
dramatically to bring back this information
from the highlights. This
results in a visible difference in
noise level between Singleflash
and Doubleflash.
• Maximum densities measured on
black & white film stocks can be
higher than on color negative film.
Therefore this film stock also benefits
from Doubleflash scanning.
29

30 Digital Intermediate Systems
2K
ARRISCAN meets
Posthouse
Only weeks after its launch, the first ARRISCAN 2k was sold to 2K Posthouse
in Cairo and installed in July 2009, becoming the first ARRISCAN in Africa.
2K Posthouse offers postproduction services
for feature films as well as for TV and commercials
productions; the owner’s family has
a longstanding relationship with ARRI. Services
at the facility include editing, 2D and
3D effects work, sound production and DI
color grading on a Baselight system. The ARRI-
SCAN 2k for file-based 2k and HD workflows
rounds out the portfolio and allows 2k
Posthouse to offer comprehensive digital
postproduction of the highest quality possible.
The speed of the ARRISCAN was a decisive
factor in more ways than one:
with projects in the pipeline, the first
reels of film were already waiting to
be scanned. Through a combination
of ARRI’s efficient service and ship-
The first ARRISCAN 2k installed in Cairo
ping departments, a nighttime crane ride in
Cairo and many helping hands working together,
the machine was installed and running
at 2K Posthouse with a minimum of delay.
With a scanning speed of 8 frames per
second, the ARRISCAN 2k guarantees high
throughput and short turnaround times; the
parallel ARRISCAN workflow will now speed
up operations at 2K Posthouse significantly -
a crucial factor when working on time-critical
commercials. As soon as the first shots
are scanned onto the SAN, the colorist and
director can start the grading process while
more reels are processed on the ARRISCAN.
Together with the highest speed available,
the ARRISCAN 2k offers the traditional val-
ues of the ARRISCAN family with its unsurpassed
image quality, flexibility, 3k CMOS
sensor and powerful software package.
What makes the ARRSICAN 2k unique is that
it can be customized to suit different client
needs and budgets. 2K Posthouse bought
its ARRISCAN 2k with the 16mm gate option
and the ARRI doubleflash technology.
However, since the system is entirely modular
and upgradeable, a keycode reader might
follow soon, and 6k/4k scanning or infrared
illumination might be options for future upgrades.
David Bermbach
Two world-class postproduction facilities – Deluxe Italia in Rome and Ascent 142
ARRILASER 2 hits London and Rome
The ARRILASER 2 represents the next generation of a film recorder that has
established itself as an integral component of DI workflows all over the world.
For 10 years the ARRILASER has set
the standard in image quality and
maintained an unrivalled level of
performance. With over 250 units
in almost constant operation worldwide,
it is the backbone of the film
recording industry.
Supporting a 16-bit image path and recording
speeds that double those of previous
models, the ARRILASER 2 will transform the
DI capabilities of any facility where it is installed.
“We will now be able to offer better
tonal reproduction with the 16-bit workflow
and – most importantly in an industry
defined by deadlines – vastly improved turn-
around times for our clients,” says Adrian
Bull, Chief Technology Officer for Ascent
142.
In Rome, Deluxe Italia has set up a new stateof-the-art
digital postproduction facility.
“Deluxe Digital Rome will offer a full range
of services: DI, scanning, film recording, DCP

First ARRISCAN in Ukraine
In recent years the big issue for cinematographers
and motion picture equipment facilities
has been the integration of digital technologies
into traditional film workflows. At Dovzhenko
Film Studio, this issue has played a vital role
in rejuvenating the business.
Dovzhenko is the biggest and most sophisticated
production facility in Ukraine; it has a
long, noble history and celebrated its 80 th
anniversary last year. The technical department
is a particular strength of the studio, having
been one of the most important equipment
service centres during the Soviet era. Dovzhenko
has also benefited from being authorized
by ARRI, and took delivery of the region’s
first ARRICAM cameras a few years ago.
In 2005, Igor Stavchansky was appointed
as General Manager at Dovzhenko. “I was
invited as a crisis manager when the studio
was in a very difficult financial situation,” says
Stavchansky. “My team and I made a fiveyear
plan for a marketing and technical restructuring
of the facility. As part of that plan,
Alexander Turchinov’s ILLUSION OF FEAR at Dovzhenko
fltr: Igor Stavchansky – Dovzhenko Film Studio, General Manager;
Anna Chmil – Chief of the Ukrainian Ministry of Culture Cinematography
Department, Andrey Grushka – Dovzhenko Film Studio,
Financial Manager; Vasiliy Bosovich – Scriptwriter
in London – have become the first to install the new ARRILASER 2 film recorder.
mastering and duplication, and 2k projection”
says Director of Technology Simone Nobili.
“Our continuous search for the best quality and
service led us to choose the ARRILASER 2 film
recorder. The new machine will join the already
installed ARRILASER and ARRISCAN;
it offers an incomparable speed and will allow
Deluxe to meet the needs of its customers.”
and with support from the Ukrainian government
and Ministry of Culture, we bought
our first ARRISCAN film scanner this year.”
The ARRISCAN represents a vital segment in
the DI workflow. In order to make best use of
the new equipment, Dovzhenko has forged
close links with private businesses. One of the
strategic partners in the studio’s new business
strategy is Kiev-based rental facility Technomedia,
managed by Oleg Pavluchenkov. “We
did not hesitate to choose the ARRISCAN,”
says Pavluchenkov. “Digital workflows and
imaging offer amazing opportunities, but my
strong belief is that none of today’s digital
sensors are able to match the plasticity and
beauty of film. Both 16mm and 35mm have
tremendous production potential, and the
ARRISCAN at Dovzhenko Film Studio will
help us to connect both worlds.”
With brand new ARRIFLEX 416 and 435 cameras,
Technomedia is able to offer top quality
productions a range of formats including 16mm
and 35mm film, as well as digital. By partnering
Utilising a Linux-based software package,
the ARRILASER 2 features a newly designed
GUI that gives a constant overview of recording
jobs in progress. The new software offers
unprecedented flexibility of operation and
speeds up daily operations considerably.
“It delivers greater accuracy and is supported
by an advanced project management system,
which allows us to integrate the device into
our existing DI pipeline,” adds Adrian Bull.
Ascent 142 and Deluxe Digital Rome will now
be able to turn around quality laser film-out
work faster than competing facilities, at speeds
of 0.9 s/frame in 2k and 1.5 s/frame in 4k.
with such well equipped facilities, Dovzhenko
is becoming an increasingly important centre
in the cinematographic world.
Igor Stavchansky explains that “equipping
our ARRISCAN with the Digital Dailies
package means we can offer a new level
of efficiency to productions. The Digital ICE
dust and scratch-removal software in our
ARRISCAN package allows us to tap into
the rich studio archives and give a second
life to titles that are an important part of
international movie history.”
With the new business plans and new, cutting
edge equipment, as well as a second
large stage of over 4000m 2 , Dovzhenko
Film Studio is attracting more and more
cinematographers and producers from all
over the world.
Alex Berkovitch
The acquisition of ARRILASER 2 recorders
reflects both companies’ determination to
lead the field in their respective markets
and offer complete digital postproduction
services under one roof.
The ARRILASER 2 model range has been
extended by the introduction of two new
versions of the ARRILASER 2 HighSpeed.
Each of the ARRILASER 2 models can be
upgraded to match the specifications of
models higher up in the range. This allows
the functionality of the ARRILASER 2 to expand
in line with the needs of individual
businesses.
Mark Hope-Jones
Digital Intermediate Systems
31

32 Lighting
LED PERFoRMANCE oN STAGE
ARRI LED technology enters theatre lighting applications
BLM Series lights Münchner Kammerspiele
The first theatre project based on ARRI BLM25
modules (Background Lighting Module 25W)
was realised by lighting designer Max Keller
at the Münchner Kammerspiele, Munich’s
city theatre. Keller first tested the colour mixing
RGB BLM modules shortly after the first BLM
installation at the rbb TV channel studio in
2007 (see ARRI News 2007-04).
Although Keller wanted to create saturated
colors he also desired the possibility of
creating tuneable white light. “White light
created from only RGB LEDs never gives a
good enough white, since there simply is not
enough spectral information in the light,”
Keller says.
To meet the need for high quality white
light ARRI designed a new variant of BLM
with 3200K and 5600K LEDs. These new
modules were used alongside their RGB
counterparts in a combined installation to
MAX KELLER
Max Keller is heading the lighting department
at the Münchner Kammerspiele
since 1978. Also he puts the
‘scene’ into its best light in many other
theatres around the world. He teaches
at theatre universities, academies and
colleges and has published books and
numerous articles in related magazines.
www.maxkeller.org
create a variable color temperature white
and color mixing light source.
Keller then came up with his concept of a
flying horizon. He and his team created a
9 meter long by 1 meter tall by 0.5 meter
wide motorised bar containing 72 BLM25
modules, comprised of 36 RGB and 36
3200K/5600K versions. The bar has a
conical shape and a painted white inside
for intensifying the light output. At the front
of this construction a so-called opera foil,
a special kind of a rear projection screen,
comes into action and gives a very even
and smooth looking light distribution. “With
this setup it is no longer possible to identify
the individual LED positions by their hot-spots
and it is a very pleasant soft light source for
the audience,” Keller remarks.
The first play where this installation was
used is called “3 FARBEN: BLAU, WEISS, ROT”
after the series of feature films by moviemaker
Krzysztof Kieslowski and his writer
Krzysztof Piesiewicz. “We used the LED
bar for introducing the 3 acts and to give a
special effect to the end of the play,” Keller
describes of the lighting design.
For controlling the LED modules, Max Keller
uses a NTX DMX console from Transtechnik
For its specialised series of theatre
products ARRI lighting is recognised
worldwide as the professional
solution when it comes
to Fresnel style daylight
and tungsten fixtures for
theatre applications. With
the new LED product
series BLM 25 and PAX,
ARRI continues to grow successfully
in the theatre lighting market.
with a wireless DMX unit to provide enough
leeway for the motorised LED bar. The
system is powered by standard PowerDMX
(24VDC/DMX512) power supplies.
Above: The 9m long by 1m tall LED bar equipped with
72 BLM25, 36 RGB and 36 3200K/5600K versions.

PAX performs on stage at Austria's State Opera House in Vienna
A very special request from the Austrian
State Opera House in Vienna reached
ARRI Lighting in April this year. Rudolf
Fischer, head of the lighting department at
the Vienna State Opera, contacted ARRI
through the local distributor LB-electronics.
Fischer’s and Werner Wolf's idea was to
replace existing LED floor ramps with ARRI
PAX LED panels to bring the advanced colour
tuning and high quality, fully adjustable white
light that PAX is renowned for to the stage.
After successful testing at the Vienna State
Opera where 6 PAX LED panels worked together
in a footlight-style arrangement with
an integrated floor ramp, the decision was
made to build a new fixture design containing
six PAX panels (48 LEO light engines
in total!). The first prototype was ready for
testing in the middle of June and revealed
how powerful the concept would be. The
installation at the Vienna State Opera is
equipped with eight of the new LEO Blast
48 floor ramps, installed right at the very
front edge of the stage. Tilting floor chambers
recess the panels into the stage floor
and allow the floor ramps to disappear when
not needed. A sophisticated control system
that incorporates DMX-interfacing and an
ARRI custom-designed power unit provide
the necessary technology and reliability for
this high profile application.
More information and pictures can be
found at www.arri.com
Timo Müller
Installation at the Vienna State Opera House
Left: LEO Blast 48 floor ramp
Right: PAX LED panel
Lighting
Franz Dubrava (left) and Werner Wolf (both LB-electronics)
installing the PAX system
33

34 Lighting
“I first used it back in September 2008,”
says Gibson. “I was working on a low budget
feature called 31 NORTH 62 EAST. We
were going to Jordan to shoot in the desert
and I knew that we’d be an hour and a
half’s journey from Petra, through the mountains.
One of the shots that we had to do
was of two cars driving through the desert
at magic hour, and it needed to cut in with
footage I’d already shot in England of characters
talking in a car once it has stopped.
I was wondering how to do it because I
knew we wanted to get the shot in one and
we’d be losing the light.”
In order to light the car interior, Gibson
used just one of the battery-powered PAX
panels, which measure 8 x 16cm and contain
an array of eight multi-chip LED modules.
“I needed something that was portable, that
could be charged from the car battery and
that allowed me to select whatever diffusion
I wanted,” she continues. “The PAX Panel Kit
worked absolutely perfectly; you can dial in
any colour gel you want and it’s wirelessly
remote controlled, so I could stand by the
camera and adjust the colour and the dimmer
as the light was going. I didn’t have a
gaffer, I was a one-man band, but it was
simply a question of flipping down the glove-
box door and resting the LED panel on that.
It worked a treat and I was delighted.”
The second shoot on which Gibson used
the PAX kit was a performance in London
of John Caird’s TWIN SPIRITS show, featuring
the musician Sting and his wife Trudie Styler.
“The brief was that it had to cut in with footage
from a previous live performance,” she
explains. “There was no audience and I
had quite a controlled environment, but we
needed to shoot it as ‘live’ as possible so
May 2009 saw the release of ARRI’s latest LED lighting
products, the PAX Panel Kits. Available in two configu-
rations, PAX 1 and PAX 2 , the kits fit inside a small carry
case and offer an extremely versatile lighting solution,
especially useful for cramped sets, remote locations
and fast-moving productions. As part of the extensive
research and development of the PAX kits, prototype
units were supplied to key individuals and companies
for field-testing and feedback. One such beta tester
was Sue Gibson, President of the BSC, who was lent an
ARRI PAX LED kit by ARRI Lighting Rental in London.
ARRI PAX a lot of LED punch
the performers could play off one another.
They were sitting side by side, 10 feet apart,
and we wanted to move the camera as much
as we could around them. This meant that
my key light couldn’t be very close to them
and I knew that I needed something else
just to get some light in their eyes and give
myself a sense of security.”
Gibson used two PAX panels, one for each
performer, and mounted them on small
stands so they could easily be moved for
different setups. The performance involved
various lighting changes, which Gibson
was able to match by punching in different
gel settings with the wireless remote control
unit. “All the different gel swatch books
are in there,” she says. “It can be daylight,
tungsten; it can be any colour you like and
there’s no light loss with the gels – the output
stays the same.”
ARRI Lighting Rental also provided the other
lights Gibson used for the shoot, to which
the PAX kit could be matched quickly and
easily. “I used the Chimera with an egg
crate because I was in a black studio and
needed a soft light that would fall off to
black quite quickly,” she says. “I was able
to look at whatever quality of light was
coming out of the Chimera and change the
LED kit accordingly.”
Mark Hope-Jones

ARRI lamps used for stills photography at Haymarket Studios
Haymarket Studios in West London is part
of the Haymarket Consumer Media Group,
the largest privately owned magazine publisher
in the UK. After developing successful
business publications in the 1960s, Haymarket
moved into consumer and motoring
magazines over the following decades; key
titles currently include Autocar, Autosport,
F1 Racing, FourFourTwo, Stuff and What
Car. With so many magazines requiring a
constant supply of images, the company
acquired Teddington Studios by the River
Thames and established Haymarket Studios.
ARRI (GB) supplied a full lighting kit to the
facility, incorporating 5k, 2k and 1k ARRI
Studio lampheads as well as a range of
cables, boxes and grip equipment.
“We have two coved studios,” says Studio
Manager Peter Spinney. “We mainly do
car-based work in the big studio and
portraiture or product-based work in the
smaller one. Although the studios were
primarily set up for Haymarket’s business
needs, we’re now looking to push them as
a resource for external clients, photographers
and production companies. Predominantly
it is stills work, but we’ve done some
greenscreen filming and we do all our podcast
filming for the Stuff.tv and WhatHiFi.
com websites here. We also had some
outside production companies coming in to
do web-related and other product-based
filming.”
The studios are equipped with flash lighting
units as well as the ARRI fixtures, though it
is the ARRI lamps that are generally used
on motoring shoots and for filming. “Continuous
lighting has been used for car photography
for many years,” continues Peter.
”We spec’d our studio in accordance with
what we were using before we had our
own facility. On a car shoot we tend to reflect
the tungsten light off the studio coving
to highlight the design of the car and make
it look as good as possible. Continuous
lighting is fantastic for shaping the light
and seeing how an object comes to life.
New HMI and LED technologies are also
being used more and more in the industry,
so we’re interested in using that as well.”
All of the lights in the studios are floormounted
on stands and various other forms
of grip equipment, rather than suspended
from a ceiling grid. This arrangement is
extremely flexible and allows Haymarket
Studios to accommodate a huge variety of
lighting setups. “We’ve done a whole host
of things in these studios since we opened,”
says Peter. “We’ve shot a lot of the top road
cars, did an ad campaign with Michael
Schumacher for Bacardi and photographed
the JCB Dieselmax land speed car, which
was 9.5m long and went on to break the
diesel land speed record in 2006. In fact
we’ve lit and shot every type of vehicle,
from recent Formula One cars to classic
Bugattis worth a million pounds.”
All Haymarket Studios details can be found
at www.haymarketstudios.com
Mark Hope-Jones
Lighting
35

36 Lighting
Frequently Asked Questions
For The M18, AS18
& EB 1200/1800
How did ARRI achieve this new 1800W
daylight system?
Because of many requests from our customers
we wanted to offer a brighter alternative
to the AS12 that you could still plug
into a normal 20amp (120V) household
circuit. Up until now, this was not possible
because the next higher wattage was 2.5k,
which required a generator or other power
source. Because of new ballast technology
we were able to go to a maximum of
1800W and still keep the current draw
19.5amps.
That is amazing capability for the U.S. – but
for Europe and Asia, what are the benefits?
The lamp manufacturers, for example OS-
RAM and GE/KOTO, managed to design
and build an 1800W metal halide light
source within the same dimensions as their
current 1200W lamps. Because the size
was comparable to the 1200W lamp, ARRI
was able to design a lamp head that was
comparable in size to the existing AS12
lamp head (actually a bit smaller and
lighter). So the benefit for all markets is a
lamp head no bigger than a 1200W with
70% more light output.
Is the M18 an ARRIMAX or a TRUE BLUE?
It is actually both; ARRI has incorporated
both the ARRIMAX reflector technology
and most of the attributes of the new TRUE
BLUE line of fixtures such as cross cooling,
smooth modern housing design and the
new disk brake system for positive stirrup
Fresh off the success of the presti-
gious DV Magazine Black Diamond
Award at NAB 2009, the AS18 has
been recognized for groundbreaking
design along with its powerful yet
convenient illumination. With this
strong interest in these lighting tools
we have come across similar questions from those interested in the new
technology. ARRI has prepared this handy Frequntly Asked Questions (FAQ)
for the M18, the award-winning AS18 fixture and the EB1200/1800W ballast.
lock. With the ARRIMAX reflector design
it allows the user to vary the beam angle
between 20° (spot) to 60° (flood) with very
high optical efficiency throughout. This
eliminates the need for spread lenses and
gives the user a much improved shadow
quality.
Why did ARRI create an ARRISUN-style
lamp head with the AS18?
We decided to give our customers a choice.
For those that want a tighter beam angle
or just the look of a conventional PAR, we
created the AS18. We also designed the
fixture so most of the AS12 accessories
(lenses, barn doors and head/ballast cables)
could be used with the AS18 fixture. It is
also fairly simple to change the fixture from
the M18 to AS18 or AS18 to M18 configuration
by changing the reflector, accessory
brackets and top latch.
Can I also use a 1200W metal halide lamp?
Because the ballast that was designed for
the AS18 and M18 is dual wattage (1200/
1800W) you can use either a 1200W or
1800W lamp in the fixtures. When the ignition
sequence begins the ballast always
starts at 1200W; if there is a 1200W lamp
used, the ballast will sense only that voltage
and stay at 1200W. However, if you are
using the new 1800W lamp the ballast will
build to a voltage switchover point where
it will sense the 1800W lamp and switch to
the proper output for 1800W (indicated by
LEDs on the front of the ballast).

Does the EB 1200/1800 have
Active Line Filter?
Yes. ALF is one of the main reasons that we
are able to limit the current draw and make
the ballast so energy efficient. ALF contributes
to a more efficient use of power by
eliminating the phase shift between voltage
and current wave form. As a result, the
required apparent power is reduced to a
minimum.
What are the new features in the
ballast EB 1200/1800?
There are many new features in the 1200/
1800W ballast. One of the main improvements
is what we call CCL, which is short
for Compensation of Cable Losses. CCL ensures
that the light source always receives
the full power of 1800W even if your extension
cable is extended very long. For 220V
operation you can extend the cable up to
a length of 100m (300’) and your M18 is
as bright as he would be with a 7m cable.
For 120V operation, the current draw is
limited to 19.5amps to eliminate nuisance
tripping. If you extend the cable up to 100’
CUSToMER REACTIoNS
The debut of the M18, AS18 and 1200/
1800W ballast at NAB 2009 was an overwhelming
success. Everyone who saw these
new products has only positive things to
say about the concept and design features.
The actual choice of an 1800W fixture was
applauded as a “no brainer” and the fact
that ARRI offers it in two different configu-
rations was just that much better. Everyone
agreed the follow-up to the extremely successful
ARRIMAX 12/18k with a fixture
that fulfilled a need in a smaller wattage
range and could be plugged into a normal
household outlet was just what the industry
needed.
Immediately following NAB, ARRI representatives
Stefan Schmidt and Mike Jones had
a chance to visit gaffer Michael Bauman
on the set of IRONMAN 2 in Hollywood to
demonstrate the new M18 and AS18 systems.
Bauman was the first gaffer to use the
ARRIMAX 12/18k on the set of MUNICH
shot in Budapest 2006 and one of the first
people to see all of the advantages of the
ARRIMAX reflector technology. Because of
this, his feedback was key to the success
of this product. Bauman had nothing but
positive comments about the fixture; he was
very impressed about the output, shadow
quality and overall look. He was so im-
you have the effect that M18 or AS18 is
not less bright as he would be with a 20’
cable.
M18 or AS18, which is better?
This is a matter of choice; some people will
embrace the look, ease of use (no lenses)
and shadow quality of the M18 with a focal
range of 20° to 60°, while others will want
the look and wider focal range of 6° to 65°
utilizing the choice of five different spread
lenses. The optical performance of the M18
is a little better from 20° to 40° but pretty
equal after that. Also keep in mind that you
will get a very different look from one to
the other. The light field of the M18 never
changes, only the intensity of the beam.
With the AS18 the light field is changed
as you change spread lenses, giving you
a more controllable light source.
When will the M18, AS18 and EB 1200/1800
be available?
Beginning of September 2009.
Stefan Schmidt
Jim Rosenthal
pressed that he has already placed orders
for both the AS18 and M18. He ordered
both because in his and his partner’s (gaffer
Jon Tower) words, “We can see different
applications for both.”
Before returning the prototype fixtures to
Germany it was also shown to Jim Rosenthal,
a key rental house owner (The Rosenthal
Group) in southern California; Jim
was one of the first people to purchase the
ARRIMAX 12/18k systems and currently
owns six. Because Jim has a keen eye for
new products with great rental potential,
ARRI wanted him to be one of the first to
AS18
M18
EB 1200/1800
Lighting
see these exciting new products. As with
everyone else all comments were positive;
he loved the concept of the 1800W systems,
the fact that ARRI incorporated many
of the TRUE BLUE features and that you
can change the fixtures from an M18 to an
AS18 and vice versa by simply changing
the reflector, accessory brackets and top
latch. He also liked the fact that all of his
existing ARRISUN 1200W accessories
(barndoors, lenses and head/ballast cables)
were compatible with the new fixtures. He
currently has six AS18 Systems on order
along with six changeover kits to M18.
An Tran/Mike Jones
37

38 Lighting
CABSAT 2009 in Dubai
At this year’s CABSAT, the leading electronic
media and communications event in the
Middle East, ARRI presented its latest technologies
to a fast-evolving market. Lighting
and camera specialists of the area are increasingly
interested in ARRI products and
services, which have now been utilised on
a large number of successful projects in the
region.
ARRI’s clients in the territory include Al
Jazeera International in Qatar, Dubai TV,
TAJ TV, Lootah Media & Broadcast in Dubai,
Baynounah Media in Abu Dhabi and Al
Watan TV in Kuwait. The key to this success
story has been innovative and competitively
priced studio lighting solutions as well as a
network of competent partners in Dubai and
Qatar, such as the system integrators Salam
Media Cast, Newtech International, Martin
Middle East and Amaranthine.
The new True Blue series was the centre of
interest at the ARRI booth in the Zabeel Hall.
In a region renowned for searing desert
heat, the new cross cooling system of the
True Blues offers decisive advantages because
it reduces both bulb and housing
temperatures. The centre adjustment of the
stirrup allows for precise balancing at the
tilt lock – with or without accessories. An
improved tilt lock prevents unwanted for-
ward tilting caused by heavy, front-mounted
accessories. Improved barndoors, easy
maintenance and more than 30 other design
improvements clearly illustrate the innovative
features and creative potential of
the new series.
Visitors to the ARRI stand also took the
opportunity to test drive the ARRIFLEX 416
plus HS, along with the new Professional
Camera Accessories. At the Amaranthine
booth Fariborz Kamrani was able to
demonstrate the ARRIFLEX D-21 equipped
with Master Prime lenses, recording onto
an S.two and demonstrating an appropriate
workflow. This was continued after
the show with a two-day workshop at the
premises of Amaranthine. Frank van Vught
presented two very well received sessions
about RAW data workflows for the ARRI-
FLEX D-21.
Showcasing 660 exhibitors over an area of
some 26,000 m 2 , CABSAT 2009 was about
10% larger than last year’s event. Among
the exhibitors were 60 first-time attendees,
which is a clear sign of the potential for
growth in this area.
Norbert Wunderlich
Al Watan TV in Kuwait

Workshop for
distributors at
ARRI Lighting
Solutions
Showtech Berlin
Showtech, the international fair for event
technologies and services, takes place every
two years in the expo area beneath Berlin’s
famous old Radio Tower. This year, ARRI
was able to display a very prestigious item
on their booth – a Scientific and Technical
Achievement Award that was awarded
earlier this year by the Academy of Motion
Picture Arts and Sciences for the development
of the ARRIMAX 18/12. The award-winning
technologies on the ARRI booth attracted
many visitors, all of whom were surprised by
the sheer number of new products on offer:
in fact, never before had so many lighting
innovations been presented by ARRI at this
show.
For the first time in Europe the entire product
line of the new ARRI True Blues was on display;
not only were the tungsten and daylight
series present, but also the new True Blue
theatre luminaires. Another clear focus of
interest was the BabyMax M18, which with
its 1,800W bulb and high output reflector
continues the family tradition of its ‘daddy’,
the ARRIMAX. The difference is that the M18
can be operated from almost any household
power socket, making it extremely convenient.
The new ARRISUN 18, a universal electronic
1200/1800W ballast with interesting tech-
nical features, and the new EB 6000 (2.5/
4/6kW) in the housing of a 2.5/4kW ballast
were also presented at the fair. “We have paid
close attention to customer comments and
the needs of the field,” says Stefan Schmidt,
ARRI’s Product Manager for daylight fixtures.
“This has resulted in very rugged products
that offer high performance at prices that
have remained stable for years; this is what
we call ‘innovation included’.”
Timo Müller, Product Manager of ARRI’s line
of LED systems, was very pleased about the
great interest in the new ranges of the PAX
and Caster series: “professionals were positively
surprised by the competitive prices of
the Caster series,” he comments.
The studio area was a perfect playground in
which to demonstrate all aspects of ARRI
lighting as a complete system. True Blue poleoperated
tungsten lights and ARRI Cool lights
with suspension systems (ARRI Telescope and
Scenery Hoist) were rigged up with a lighting
control and dimmer system (Ion Console and
Sensor dimmer by ETC). In addition, up-todate
network solutions for TV studio lighting
control systems were shown. As an impressive
background illumination, the ARRI LED
wall was also integrated into this system.
Norbert Wunderlich
Stefan Schmidt talking about the True Blue series
A day before Showtech opened its doors,
distributors and system integrators attended
a workshop at the premises of ARRI
Lighting Solutions in Berlin. Sigrid Müller,
Managing Director of ARRI Lighting
Solutions, concluded the meeting and
presented the attendees with a certificate.
The most successful dealers of
2008 were additionally awarded with
a ‘Buddy Bear’ – a very typical Berlin
symbol and an ambassador for optimism.
This could as easily be related to the atmosphere
of the subsequent show as to
the workshop.
Timo Müller at the workshop
Lighting
39

SAT.1 Frühstücksfernsehen
40 Lighting
New SAT.1 TV Studio in Berlin
ARRI True Blue tungsten series perfectly matches HD production environment
SAT.1 "Frühstücksfernsehen" (morning show)
Berlin’s creative and media centre is a very
attractive and urban area, located on the
river Spree by the appropriately named
‘television dock’ (Fernsehwerft). ARRI Lighting
Solutions has designed and equipped
two TV studios at this location, each featuring
a wealth of new possibilities in lighting
design. One of them is a 400m 2 studio
that was taken over by the privately owned
SAT.1 TV network in early 2009.
Of particular importance to the new operator
was the flexible grid and power rail system.
Thoughtfully-combined rail pairs offer
a maximum of freedom in positioning the
lighting fixtures horizontally and vertically,
while the custom-designed track system
now transmits DMX signals. Labour-intensive
changes of DMX and power supply
cables are no longer necessary, as the
dimmer system is now installed directly to
the suspension system. All of this results in
a flexible, effective production environment
that offers a highly dynamic system with
more precision and faster setup times for a
wide variety of productions.
The infrastructure is rounded up by a new
ACN network system (ETC NET3) that easily
integrates a 300m 2 RGB backlight wall
into its comprehensive control. The studio is
equipped with about 100 ARRI tungsten
lights, including 70 units of the new ARRI
True Blue series. These state-of-the-art fixtures
perfectly meet the need for high quality
and high light output in an ultra-modern
HD studio.
“We are very glad to see that our major formats
like the SAT.1 morning show, called
TV BREAKFAST, can now be produced in
the capital,” says Managing Director
Michael Förster. “Berlin is setting standards
and so is our new studio – especially with
respect to a technically advanced and costeffective
production environment. This is
why ARRI Lighting Solution’s concept convinced
us right from the start.”
SAT.1 belongs to the ProSieben SAT.1
Media AG, which also owns the channels
of kabel eins and N24, making it the second
largest TV group in Europe. It was SAT.1
that initiated the era of private television in
Germany in 1984, just a day before the
launch of RTL plus. Since 1996, SAT.1 has
also been on the internet, and was one of
the first German TV channels to make that
step.
Norbert Wunderlich/Frank Schlammer
Mark-II mo
ARRI‘s Repres
For many years ARRI has taken great
interest in the regions of Central Asia
with it’s contrasting landscapes and rich
cinematic traditions. Initially, as member
of the company pool of the German
Chamber of Commerce in Kazakhstan,
we received excellent support from the
local representative office (AHK-DIHK)
under the direction of Dr. Shinusalijeva.
We are extremely pleased to have
found a competent and professional
partner in Mark-II Productions capable
of representing our interests in all of
Central Asia. For four of those years,
Mark-II Productions has represented
ARRI and is pleased to announce their
move to their new premises in the heart
of the city of Almaty.
Having a permanent local presence in such
a large territory is of great importance to
ARRI and is proving to be a great platform to
offer the industry the latest film and digital
technologies. It also provides a great opportunity
to host seminars and training workshops
for local filmmakers.
Recognising the local wealth of creativity in
the craft of filmmaking, ARRI introduced a
special award for “Best Cinematography“
Thomas Popp presenting the ARRI Award for Best
Cinematography to Oleg Sapharaliev

ves to New Premises
entative in Almaty, Kazakhstan
supporting The International Film Festival. Many
local film projects have been made in direct
cooperation with various ARRI departments
such as NOMAD, STRIZH, MAMIN RAI all using
the ARRI Lab facilities. Cosmos Art project;
MY DEAR CHILDREN produced by Askar Sembinwas
is a perfect example, where the DI
process and Dolby Sound mixing took place
at ARRI Munich.
Inter Cinema recently commenced its third
project under the working title LAST LOVE which
will be shot with the very first ARRICAM System
in the region and now Sergey Azimov and
Iliyas Iskakov are already planning new
acquisitions.
CINEALLIANCE in Baku, an experienced production
and post production facility in Azerbaijan
is actively using ARRIFLEX 435 for
projects. Aliaga Mammadov, CEO Cinealliance,
a talented artist and knowledgeable
technician along with Gusein Guseinov and
Ruslan Akmanov are exploring digital opportunities
but still recognise the wonderful image
quality that film can achieve. “Like a master
craftsman weaving various colours in an Azeri
carpet, filmmakers use their skills to choose the
latest film and or digital technologies to realise
their creative vision with regards to each
specific project” – Aliaga Mammadov says.
D-21 Shoots in Azerbaijan
Recently, the very first 2k RAW data digital
On location in Azerbaijan with the
ARRIFLEX D-21
production was managed in Azerbaijan by
Israfil Agazadeh and his Baquan Cinema
Company. A documentary about Azerbaijan
history was initiated by The Ministry of Foreign
Affairs and was shot with an ARRIXLEX
D-21 using an S.two Recorder, demonstrating
unsurpassable image quality and superior
dynamic range of the Azeri Scenery. The
look and mood was obtained using the special
ARRIRAW features and proved incredibly
flexible in post production and grading. Both
the camera and recorder performed well even
in the most gruelling temperatures, while
shooting took place in different regions of the
country. A graduate from Moscow Film School,
VGIK Israfil Agazadeh had been accustomed
to shooting film and therefore found the optical
viewfinder and traditional accessories range
made his step into the digital world an easy
and comfortable transition.
Kazakhfilm Studio Invests in ARRI Equipment
So far this year Kazakhfilm Studio has purchased
an ARRISCAN and ARRILASER along
with ARRIFLEX 435 Xtreme and ARRIFLEX 235
cameras and ARRI lighting equipment for studios.
There are exciting production plans in place
and ARRI is at hand to support them with regards
to service. The ARRISCAN and ARRILASER
will ensure a fast link between analogue and
digital realities in overall studio workflow.
An impressive three step restructuring program
of Azerbaijan National Film Studio is planned
Aliaga Mammadov (on the left side from the
ARRILFEX 435) and the CINEALLIANCE Team
Worldwide
Mark-II /
ARRI Representative
Office in Central Asia:
Zheltoksan Str., 87
05000, Almaty
Phone: +7 727 279 99 48, Fax: +7 727 279 16 37
in the near future, which will include taking
supply of ARRIFLEX 235, ARRIFLEX 416 Plus,
the ARRICAM system and ARRISCANs, and
ARRILASERs production and post production
tools and archive restoration technology. A
comprehensive training program will help
technicians at differing levels to broaden
their technical knowledge and expertise.
Active preparations for the new set of seminars
and master classes in Uzbekistan are
now underway, organised and planned by
Uzbekfilm Managing Director, Sergey Kim.
ARRI Sales Director Thomas Popp summarizes,
“Central Asia continues to offer new and exciting
opportunities for ARRI. Our innovative
expertise and the region’s film makers artistic
and technical skills makes for a great combination.
Supported by our representatives,
Mark-II Productions and their commitment to
the industry, ensures the region is positioned
well and has the best tools, film or digital,
to create high quality images for a wide
audience“.
Alex Berkovitch
DoP Pavel Kazakov at the
seminar in Almaty 2009
41

42 Worldwide
llumination Dynamics Impresses
with New LA Facility
IIllumination Dynamics (ID) has moved to an impressive new San Fernando, Calif. location in
the greater Los Angeles area that features easy access, ample space and thoughtful amenities
for production crew. With 70,000 square feet of warehouse space to house ID’s expanding
inventory of state-of-the-art motion picture lighting and grip, automated and theatrical lighting,
HVAC equipment and expendables, the company is able to offer improved working environ-
ment, equipment accessibility and customer service.
In addition to doubling the warehouse space, ID provides
11,000 square feet of air-conditioned offices, repair, conference,
and demo rooms – including separate production
crew offices with useful telephone and wi-fi internet connectivity.
Repair facilities offer excellent maintenance in-house
as well as equipment servicing for outside customers. Dedicated
entries and spacious loading docks for each department
facilitate easy equipment pickup and return.
Now that the facility is fully up and running, customers continue
to praise the expansion, making ID yet another stellar
facility in the ARRI Rental Group.
contact:
www.illuminationdynamics.com
Ample space and equipment
at ID's new facility.

ARRI CSC, the largest full service
rental group in the United States,
has relocated its acclaimed New
York camera rental department to
a custom-designed facility in
Secaucus, New Jersey. At 36,000
sq. ft, the new department repre-
sents an expansion of over 50%.
In doing so, ARRI CSC reunites the
camera department with its lighting
and grip division.
ARRI CSC Relocates and Expands
New York Camera Rental House
The enhanced camera department is setting
a new standard for camera rental with multiple
camera check out bays and four dedicated
testing rooms surrounded by optical, mechanical,
digital and technical support departments
– all on one ground floor level.
Fifteen minutes from Manhattan, the Secaucus
location allows ARRI CSC to provide parking
for over 70 vehicles and takes advantage of
the extensive local transportation network
for those who choose not to drive.
ARRI CSC continues to offer the level of
service for which it is renowned. As well as
the ultimate range of ARRI products for
rental whether film, digital or lighting, their
extensive inventory includes grip equipment,
Super Techno camera cranes, Hydroflex
underwater products and a comprehensive
fleet of customized location vehicles.
contact: www.arricsc.com
Worldwide
43

44 Worldwide
Munich's Filmfestival 2009
Marcelo Lavintman (UNA SEMANA SOLOS),
Katja Nicodemus (Jury), Prof. Franz Kraus (ARRI) and
Dr. Winfried Scherle (ZEISS)
(f.l.t.r.) DoP Marcelo Lavintman (UNA SEMANA SOLOS),
director Michael Haneke (CineMerit Award), Frazer
Bradshaw (CineVision Award for EVERYTHING STRANGE
AND NEW) and Andreas Ströhl (director of the FILMFEST
MÜNCHEN)
UNA SEMANA SOLOS was directed by Celina
Murga, who gave her debut in 2003 with
the feature film ANA Y LOS OTROS. Her
work is strongly influenced by the tradition
of European cinema and especially by
French films. UNA SEMANA SOLOS was chosen
by unanimous decision of the jury, who
explained their decision as follows: “In her
second film UNA SEMANA SOLOS, Celina
Murga has succeeded in creating a concentrated
and exemplary social portrait.
Telling the story of a group of privileged
children who have been left alone in the
confines of their luxurious suburban homes
At this year’s Munich Film Festival the ARRI-ZEISS award was
presented to the best foreign film for the second time. The prize-
winner is the Argentinian feature UNA SEMANA SOLOS, produced
by Juan Villegas and Inés Gamarci. The ARRI-ZEISS Award is
intended as a producer prize, because the prize money of 50,0000 €
is aimed at directly funding future film projects. ARRI Senior Executive
Prof. Franz Kraus and Dr. Winfried Scherle, General Manager & Vice
President of the Camera Lens Division, Carl Zeiss AG, presented the
Lion Statuette to the DoP Marcelo Lavintman, ADF.
ARRI-ZEISS Award goes
Marcelo Lavintman on location with the 16SR II
for a week without their parents, the film
manages to touch on the relevant topics of
our time: class conflicts, the imbalance between
rich and poor, the exclusion of those
who apparently do not conform. With precisely
orchestrated group scenes the young
director portrays the world of the children
with all its tedium and boredom.” UNA SEM-
ANA SOLOS is a challenge in the best sense
of the word. A film that not only tells us of
an unjust world, but describes how we create
it day by day.
During a short visit to Munich to accept the
prize, DoP Marcelo Lavintman, ADF, took the
time to visit the ARRI facilites in the Türkenstrasse
and share his thoughts with us.
First of all we would like to congratulate
you for the excellent cinematography on
UNA SEMANA SOLOS.
Director Celina Murga and Marcelo Lavintman
Marcelo Lavintman: Thank you! I’m glad
that an independent Argentinean film has
received this level of international acclaim.
What capture format did you use for the
film and what were the reasons for the
choice?
ML: UNA SEMANA SOLOS was shot in Super
16 with an ARRIFLEX SR II camera. Being an
independent production with a rather limited
budget, 35mm film was not really an option.
Still, it was important for me to go for
film. The story plays in a very classy gated
community where the houses have large
picture windows. Since the location played
an important part in the story, we had to
make sure that the view out the windows
gave the correct impression of an up-scale
community with wide streets and well-kept
lawns. Film was really the only possibility
of capturing the wide exposure latitude, at

to UNA SEMANA SoLoS
Children between 7 and 14 years old are left alone for one week in a house of a countryside neigbourhood.
least when we shot the movie two years
ago. I know progress has been made with
digital cameras since then, but from what I
had seen at the time, I would have been
afraid of the windows blowing out on me
with a digital.
Which film stocks did you use?
ML: Most of the film was shot on Kodak
Vision 250D negative, even when we were
using tungsten lighting. In those cases, I
chose not to use a conversion filter to avoid
loosing light. We adjusted the colour later
in post production.
Could you describe the post production
process for us?
ML: We did an HD telecine transfer and
did the colour correction on the digital intermediate.
For the cinema, we filmed out
to 35mm.
What did you think about the results on the
big screen?
ML: Of course you know that it is not 35mm
film but for me that is an important part of
the film look. It’s part of what makes film
seem more alive than video.
What are your next projects?
ML: I will shortly begin shooting a film
about a truck driver from Paraguay. The
interesting thing is that the lead role will
not be played by an actor but by an actual
truck driver.
We look forward to it. Thank you, Marcelo.
Michael Koppetz/Marita Müller
General Manager
and Head
of Global Sales
and Marketing
As from 1 st August, Stephan Schenk
joined ARRI as new General Manager
and Head of Global Sales and Marketing
for the newly established Business Unit
Camera & Digital Intermediate Systems
which he will lead together with Walter
Trauninger. Stephan Schenk has a diploma
in Industrial Engineering and brings with
him over 15 years experience in Sales and
Marketing. In various positions ranging
from Product Manager to Managing
Director as well as a Senior Strategy Consultant,
he has gained management experience
in the fields of high tech industrial
goods of globally acting companies.
"Only few companies are offering a profile
like ARRI: renowned customers around
the world, cutting edge and multi-award-
winning-products, employees with outstanding
know-how, and one of the strongest
brands in the industry. Thereby the
point in time of joining ARRI couldn't be
more exciting than now. The market is
changing and we therefore will have to
listen to the customer's needs very carefully.
We will accept the challenge to maintain
ARRI as the self-evident choice of our customers
for Camera and DI Systems including
the professional accessories and services,
no matter whether the customer
chooses film or digital solutions. I am
looking forward to my new tasks and the
challenges at ARRI which we will meet
together as a team."
email:sschenk@arri.de
Worldwide
45

46 Services
ARRI RENTAL GERMANY
ARRI MEDIA
ARRI LIGHTING RENTAL
ARRI SOUND
Title Production Company Director DoP Equipment
JEDER MENSCH BRAUCHT EIN GEHEIMNIS TV60Film Wolfram Paulus Dragan Rogulj ARRIFLEX 416 Plus, Zeiss Ultra 16,
Lighting, Grip
BOXHAGENER PLATZ Claussen+Wöbke+Putz Filmproduktion Matti Geschonneck Martin Langer ARRICAM ST/LT
MASTERWORKS Fox TV Jeffrey Nachmanoff James Whitaker ARRIFLEX D-21, ARRIFLEX 235,
Lighting, Grip
FLASCHENGEIST Constantin TV Andreas Senn Markus Hausen ARRIFLEX D-21
ROCK IT SamFilm Mike Marzuk Bernhard Jasper ARRICAM ST/LT, ARRIFLEX 235,
Ultra Primes, Grip
TEUFELSKICKER UFA Cinema Granz Henman Jörg Widmer ARRICAM LT, ARRIFLEX 235,
ARRIFLEX 435
GRäFLICHES ROULETTE ABC Studio Ulrich König Ludwig Franz ARRIFLEX 16SR3, Zeiss Ultra 16,
Lighting, Grip
JERRY COTTON Rat Pack Filmproduktion Cyrill Boss & Philip Stennert Torsten Breuer ARRICAM ST/LT, ARRIFLEX 435,
Lighting, Grip
NANGA PARBAT Perathon Film Joseph Vilsmaier Helmfried Kober, ARRICAM LT, ARRIFLEX 765, ARRIFLEX 235,
Peter von Haller Master Primes, Lighting, Grip
BEN HUR Drimtim Entertainment Steve Shill Ousama Rawi ARRICAM ST/LT, ARRIFLEX 435,
ARRIFLEX 235,Lighting, Grip
FRECHE MäDCHEN 2 collina Filmproduktion Ute Wieland Peter Przybylski ARRICAM ST/LT, ARRIFLEX 235,
Master Primes, Lighting, Grip
Title Production Company Director DoP Equipment
CEMETERY JUNCTION Point Productions Ltd Ricky Gervais / Remi Adefarasin BSC 3-Perforation ARRICAM ST/LT, Ultra Primes
Stephen Merchant
NANNY MCPHEE AND THE BIG BANG McPhee Farmyard Productions Susanna White Mike Eley 3-Perforation ARRICAM ST/LT,
Master Primes, Grip
ST TRINIAN‘S: THE LEGEND OF More Mayhem Ltd Oliver Parker / David Higgs BSC 3-Perforation ARRICAM ST/LT, Grip
FRITTON‘S GOLD Barnaby Thompson
CHATROOM Ruby Fims Ltd Hideo Nakata Benoît Delhomme 3-Perforation ARRICAM ST/LT,
Master Primes, Grip
LONDON BOULEVARD London Boulevard Ltd William Monahan Chris Menges BSC 3-Perforation ARRICAM ST/LT,
Master Primes
LARKRISE TO CANDLEFORD - SERIES 3 BBC Patrick Lau Mark Partridge ARRIFLEX D-21
SURVIVORS - SERIES 2 BBC Jamie Payne / David Evans Alan Almond BSC ARRIFLEX D-21
Fabian Wagner
ABOVE SUSPICION - THE RED DAHLIA La Plante Productions Ltd Gillies MacKinnon Nigel Willoughby ARRIFLEX D-21
IDENTITY ITV Studios Brendan Maher Jan Jonaeus ARRIFLEX D-21, Ultra Primes, Grip
GOING POSTAL The Mob Film Co Jon Jones Gavin Finney BSC ARRIFLEX D-21
SEX & DRUGS & ROCK & ROLL New Boots and Panties Ltd Mat Whitecross Brian Tufano BSC/ ARRIFLEX 416, Zeiss Primes, Grip
Christopher Ross
NEVER LET ME GO DNA Films Mark Romanek Adam Kimmel 3-Perforation ARRICAM ST/LT,
ARRIFLEX 235
EMMA BBC Jim O‘Hanlon Adam Suschitsky 2-Perforation ARRICAM ST/LT, Grip
Title Production Company Director Dop Gaffer Best Boy
GULLIVERS TRAVELS Fox UK Productions Ltd. Rob Letterman David Tattersall BSC Eddie Knight Stuart Montieth
CEMETARY JUNCTION Point Productions Ricky Gervais/Stephen Merchant Remi Adefarasin BSC Jimmy Wilson Stewart King
NANNY MCPHEE AND THE BIG BANG McPhee Farmyard Productions Susanna White Mike Eley Paul Murphy Mark Funnell
ST TRINIAN'S: THE LEGEND OF More Mayham Ltd. Oliver Parker/Barnaby Thompson David Higgs BSC Dan Fontaine Andy Bell
FRITTONS GOLD
DAGENHAM GIRLS We Want S Ltd. Nigel Cole John de Borman BSC John Colley Kevin Fitzpatrick
LARKRISE TO CANDLEFORD - SERIES 3 BBC Patrick Lau Mark Partridge Kenny Sykes Craig Hudson
CRANFORD CHRONICLES BBC Simon Curtis Ben Smithard Mark Clayton Benny Harper
EMMA BBC Jim O'Hanlon Adam Suschitsky Alex Scott Carolina
Schimdtholstein
NEVER LET ME GO DNA Films Mark Romanek Adam Kimmel John Colley Vince Madden
SEX & DRUGS & ROCK & ROLL New Boots and Panties Ltd Mat Whitecross Brian Tufano BSC/ Julian White/Rob Pie
Christopher Ross
THE SPECIAL RELATIONSHIP Trilogy Films Ltd. Richard Loncraine Barry Ackroyd BSC Harry Wiggins Chris Mortley
SPOOKS 8 Kudos (Spooks Ltd) Alrick Riley James Welland Chris Bird Toby Flesher
CRIMINAL JUSTICE BBC Yann Demange/Marc Jobst Tat Radcliffe Mark Taylor Lawrence Duffy
Theater Release
BETTY ANNE WATERS Innocence Productions
DINOSAURIER Constantin Film Produktion
NESELI HAYAT BKM Film
JERRY COTTON Rat Pack Filmproduktion
VORSTADTKROKODILE II Westside Filmproduktion
ROCK IT SamFilm
DVD/ TV Release
DER LAUTLOSE SCHREI Lisa Film / Post One
DIE HüTTENWIRTIN Lisa Film / Post One
ROMY Phoebus Film
SISI Sunset Austria
IM ANGESICHT DES VERBRECHENS Typhoon

ARRI CSC
ARRI LAB - TVDrama
ARRI Commercial
ARRI DI/VFX
Title Production Company DP / Lighting Director Gaffer Equipment Supplied
BOUNTY HUNTER Columbia Pictures Oliver Bokelberg Gene Engles ARRICAM LT 3-Perforation, Lighting ARRI CSC NJ
BURN NOTICE TVM Productions / USA Network William Wages ASC ARRIFLEX 416, ARRIFLEX 16SR 3, ARRI CSC FL
Zeiss Ultra Primes
A COUPLE OF COPS Warner Bros. David Klein Greg Quinlan ARRICAM ST/LT 3-Perforation, Lighting ARRI CSC NJ
DATE NIGHT 20th Century Fox Dean Semler ASC John Velez Lighting ARRI CSC NJ
HALLOWEEN 2 Dimension Films Brandon Trost Justin Duval Lighting Illumination
Dynamics NC
FIVE KILLERS Lionsgate Russell Carpenter ASC ARRIFLEX D-21, S-Two data recording,
ARRI RAW ARRI CSC FL
THE RUM DIARY Rum Diary Productions LLC Dariusz Wolski ASC ARRIFLEX 416, ARRIFLEX 16SR 3, Zeiss Ultra Primes ARRI CSC FL
STARK TANK Mark Burnett Productions Oscar Dominquez Darren Langer Automated Lighting Illumination
Dynamics LA
THE SORCERER'S APPRENTICE Incantation/ Disney Bojan Bazelli ASC Mike Gallart ARRICAM ST, ARRICAM LT,
Master Prime lenses ARRI CSC NJ
SUPER DAVE OSBORNE'S SPIKE TACULAR Brillstein Ent./ Spike TV John Meyer Blair Korbel Automated & Conventional Lighting Illumination
Dynamics LA
Title Production Company Director Camera
BAL - HONEY Heimatfilm Semih Kaplanoglu Baris Özbicer
BETTY ANNE WATERS Innocence Productions Tony Goldwyn Adriano Goldman
BON APPETIT Egoli Tossell Film David Pinillos Aitor Mantxola
DER GROSSE KATER Neue Bioskop Film Wolfgang Panzer Edwin Horak
DINOSAURIER Constantin Film Produktion Leander Haußmann Hagen Bogdanski
FRECHE MäDCHEN 2 collina Filmproduktion Ute Wieland Peter Przybylski
FRIENDSHIP! Wiedemann & Berg Filmproduktion Markus Goller Ueli Steiger
HORST SCHLäMMER - ISCH KANDIDIERE! Bluverde F.V.T. Produktionsgesellschaft Angelo Colagrossi Frank Grunert
NESELY HAYAT BKM Yilmaz Erdogan Ugur Icbak
TEUFELSKICKER UFA Cinema Granz Henman Jörg Widmer
THEMBA Zeitsprung Entertainment Stefanie Sycholt Egon Werdin
ZEITEN äNDERN SICH Constantin Film Produktion Uli Edel Rainer Klausmann
Customer Title Agency Production Company Director Camera
Sony Ericsson JUMP'N' WALK / FANWALK Neverest e+p commercial Filmproduktion Hauke Hilberg Carlo Jelavic
Chupa Chups CHUCK (DT. ADAPTION) Specktakulär GAP Films The Perlorian Brothers Brendan Steacy
Medion WO VON TRäUMST DU SONST NOCH TBWA Düsseldorf e+p commercial Filmproduktion
Sky PROMO & DRTV Heye & Partner diverse diverse
Ernstings LI-LA-LAUNE Heye & Partner e+p commercial Filmproduktion Claude Mougin Thomas Kürzl
Cosmopolitan IMAGEFILM 2009 WELOVEFILM Peter Macherlett MVG
& Lili Clemens
Stadt München OPER FILMSTADT MüNCHEN Helliventures Damian John Harper Dieter Deventer
easyCredit TeamBank AG Nürnberg EASYCREDIT "KONJUNKTURPAKET" Neverest
Ehrmann MONSTERBACKE Heye & Partner
COMVEL WEG.DE "SOMMER/LAST MINUTE" cream film productions / München Eva Zillekens Marco Schmidt Polex
DrinkStar DEIT "AM SEE" FJR e+p commercial Filmproduktion Florian Seidel Grant Appleton
Molkerei Weihenstephan WEIHENSTEPHAN "WERFEN" Serviceplan Dritte Neue Sentimental Film
WA/Neverest Frankfurt Matthias Bierer Tony Mitchell
McDonald's Deutschland Inc. MCDONALD'S "STARS OF AMERCIA" Heye & Partner Hager Moss Commercial Martin Haerlin Sven Lützenkirchen
Süddeutsche Zeitung SZ "UMARMUNG" PLAN.NET Concept e+p commercial Filmproduktion Patrick Senn Marc Achenbach
Zweite /Neverest
DANONE DANONE ACTIMEL Y&R made in munich filmproduktion Ben Hartenstein Christian Rein
BMW BMW "50 JAHRE MINI" lucie_p Manuel Werner Daniel Gottschalk/
Mark Rogoll
Ehrmann FRüCHTETRAUM Heye & Partner
Title Production Company Director DoP Services
BON APPETIT Egoli Tossell Film München David Pinillos Aitor Mantxola VFX, DI, Titles
BOXHAGENER PLATZ Claussen+Wöbke+Putz Filmproduktion Matti Geschonneck Martin Langer DI
DINOSAURIER Constantin Filmproduktion Leander Haußmann VFX, DI
EISFIEBER Constantin Television Peter Keglevic Theo Bierkens VFX, Titles
FRIENDSHIP! Wiedeman & Berg Filmproduktion Marcus Goller Ueli Steiger VFX, DI
DIE HEBAMME (TV) Roxy Film Dagmar Hirtz Jo Heim VFX
HENRI IV Ziegler Film Jo Baier Gernot Roll add. VFX, DI
KLIMAWECHSEL (TV) MOOVIE - the art of entertainment Doris Dörrie, and others Hanno Lenz VFX
MARIA, IHM SCHMECKT'S NICHT Claussen+Wöbke+Putz Filmproduktion Neele Leana Vollmar Torsten Breuer DI
DIE PäPSTIN Constantin Film Produktion Sönke Wortmann Tom Fährmann VFX, DI, Titles
PANDORUM Constantin Film Produktion Christian Alvart Wedigo v. Schultzendorff Digital Optical Effects, DI, Titles
SISI (TV) Sunset Austria Xaver Schwarzenberger Xaver Schwarzenberger VFX
ZIMMER Rüdiger Heinze Filmproduktion Michael Dreher Ian Blumers DI
Services
47

Key Contacts
Product Sales
ARRI Cine Technik
Business Unit Camera, DIS
Stephan Schenk
+49 - (0) 89 - 38 09 - 1044
sschenk@arri.de
ARRI Cine Technik
Business Unit Lighting
ARRI Lighting Solutions
Sigrid Müller
+49 - (0) 30 - 678 23 30
smueller@arri.de
ARRI (GB) Ltd., Renos Louka
+44 - (0) 1 89 54 57 000
sales@arri-gb.com
ARRI Italia, Antonio Cazzaniga
+39 - 02 - 26 22 71 75
acazzaniga@arri.it
ARRI Inc., USA, Charlie Davidson
+1 - 845 - 353 - 1400
cdavidson@arri.com
ARRI Canada, Sebastien Laffoux
+1 - 4 16 - 2 55 33 35
seb@arrican.com
ARRI ASIA Ltd., Paul Ivan
+852 2571 6288
pivan@arriasia.hk
ARRI Australia, Stefan Sedlmeier
+ 61 (2) 9855 4300
ssedlmeier@arri.com.au
Rentals
ARRI Rental Deutschland
Thomas Loher
+49 - (0) 89 - 38 09 - 1440
tloher@arri.de
ARRI Media, Philip Cooper
+44 - (0) 1 89 54 57 100
pcooper@arrimedia.com
ARRI Lighting Rental, Tommy Moran
+44 - (0) 1 89 54 57 200
tmoran@arrirental.com
ARRI CSC (NY)
Simon Broad, Hardwrick Johnson
+1 - 212 - 757 - 0906
sbroad@cameraservice.com
hjohnson@cameraservice.com
ARRI CSC (FL), Ed Stamm
+ 1 - 954 - 322 - 4545
estamm@cameraservice.com
Illumination Dynamics (LA)
Carly Barber, Maria Carpenter
+ 1 - 818 - 686 - 6400
carly@illuminationdynamics.com
maria@illuminationdynamics.com
Illumination Dynamics (NC), Jeff Pentek
+1 - 704 - 679 - 9400
jeff@illuminationdynamics.com
Film & TV Services
Key Account: Angela Reedwisch
+49 - (0) 89 - 38 09 - 1574
areedwisch@arri.de
German Sales: Walter Brus
+49 - (0) 89 - 38 09 - 1772
wbrus@arri.de
Lab: Martin Schwertführer
+49 - (0) 89 - 38 09 - 2091
mschwertfuehrer@arri.de
Commercial: Philipp Bartel
+49 - (0) 89 - 38 09 - 1514
pbartel@arri.de
Digital Intermediate: Harald Schernthaner
+49 - (0)89 - 3809 - 2002
hschernthaner@arri.de
VFX: Dominik Trimborn
+49 - (0)89 - 3809 - 2073
dtrimborn@arri.de
Sound: Bernd Clauss
+49 - (0) 89 - 38 09 - 1810
bclauss@arri.de
www.arri.com
ARNOLD & RICHTER CINE TECHNIK
GmbH & Co. Betriebs KG
Türkenstr. 89 · D-80799 München
phone +49 - (0) 89 - 3809 - 0
fax +49 - (0) 89 - 3809 - 1245
Expo Calendar 2009_2010
These are the most important exhibitions where you can find out about
ARRI products and services
2009
September 11 – 15 IBC Amsterdam
October 29 – 31 Broadcast India Mumbai
November 17 – 20 Natexpo Moscow
November 18 – 20 Interbee Tokyo
November 20 – 22 LDI Orlando
November_December 28 – 05 Camerimage Lodz
2010
March 02 – 04 Cabsat Dubai
March 17 – 19 CPS Moscow
March 22 – 25 FilmArt Hongkong
March 24 – 27 Prolight & Sound Frankfurt
April 12 – 15 NAB Las Vegas
June 03 – 06 CineGear Los Angeles
June 15 – 18 Broadcast Asia Singapore
June 15 – 18 Koba Seoul
June 22 – 24 Testing Expo Stuttgart
Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München
Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Müller
With additional text by: Alex Berkovitch, David Bermbach, Jessica Choy, Michael Cieslinski, Mike Jones, Klaus Jacumet,
Mark Hope-Jones, Dr. Hans Kiening, Franz Koch, Michael Koppetz, Sibylle Maier, Marita Müller, Timo Müller,
Dr. Achim Oehler, Marc Shipman-Mueller, Frank Schlammer, Stefan Schmidt, Tng Siew Moi, An Tran, Grace Wang,
Adrian Widera, Norbert Wunderlich
Artwork: Jochen Thieser, Uwe Heilig, Markus Kronberger, Matthias Griessel
Printed by: Rapp-Druck GmbH, Flintsbach
The opinions expressed by individuals quoted in articles in the ARRI NEWS do not necessarily represent those of ARRI or the editors of the ARRI NEWS.
Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and
specifications given in this publication are subject to change without notice.
Ident Nr.: K5.44025.C