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06/06 ISSUE 2
VisionARRI
The Biannual International Magazine from the ARRI RENTAL & POST PRODUCTION ENTERPRISES
THE
DA VINCI
CODE
Interview with
DoP Salvatore Totino
V for Vendetta
Night shoot takes over London
The Cloud
Postproduction at ARRI Film & TV
Kank
Bollywood hits New York
New Products
ARRIFLEX 416
Ultra 16 lenses
Master Zoom

THE WORLD JUST GOT SMALLER
The ARRI Rental Group and ARRI Film & TV Services can
provide you with a complete service that can see your
project through from start to finish. An extensive network of
ARRI rental companies, as well as ARRI rental partners and
associates, ensures the latest high quality equipment is
available throughout the world. ARRI Film & TV Services
ARRI SUBSIDIARIES
AUSTRALIA
ARRI Australia, Sydney
Cameras
Kate Walton, Bill Ross
T +61 2 9855 4300
kwalton@arri.com.au
bross@arri.com.au
AUSTRIA
ARRI Rental Vienna
Cameras
Gerhard Giesser
T +43 (1)877 6938 18
rental.moviecam@aon.at
CZECH REPUBLIC
ARRI Rental Prague
Lighting, Grip
Robert Keil
T +42 023 431 3012
rkeil@arri.de
GERMANY
ARRI Rental Berlin
Cameras, Lighting, Grip
Fritz Sammer
T +49 30 34680024
fsammer@arri.de
ARRI Rental Cologne
Cameras
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sweiss@arri.de
ARRI Rental Munich
Cameras, Digital, Lighting, Grip
Thomas Loher
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tloher@arri.de
ARRI Film & TV Services, Munich
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Cinema
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jreidinger@arri.de
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hraedlein@arri.de
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bclauss@arri.de
LUXEMBOURG
ARRI Rental Luxembourg
Cameras
Steffen Ditter
T +352 2670 1270
sditter@arri.de
UNITED KINGDOM
ARRI Lighting Rental, London
Lighting
Tommy Moran
T +44 1895 457 200
tmoran@arrirental.com
ARRI Focus, London
Short term lighting hire for
commercials & promos
Martin Maund, George Martin
T +44 1895 810 000
martin@arrifocus.com
george@arrifocus.com
ARRI Media, London
Cameras, Digital, Grip
Philip Cooper
T +44 1895 457 100
pcooper@arrimedia.com
ARRI Crew, London
Diary Service
Kate Collier
T +44 1895 457 100
arricrew@arrimedia.com
USA
ARRI CSC, New York
Cameras, Digital, Lighting, Grip
Simon Broad,
Hardwrick Johnson
T +1 212 757 0906
sbroad@cameraservice.com
hjohnson@cameraservice.com
ARRI CSC, Florida
Cameras, Digital, Lighting, Grip
Ed Stamm
T +1 954 322 4545
estamm@cameraservice.com
Illumination Dynamics, LA
Lighting, Grip
Carly Barber, Maria Carpenter
T +1 818 686 6400
carly@illuminationdynamics.com
maria@illuminationdynamics.com
Illumination Dynamics,
North Carolina,
Lighting, Grip
Jeff Pentek
T +1 704 679 9400
jeff@illuminationdynamics.com
in Germany provides a studio, film processing lab,
digital intermediate services, visual effects and sound
post-production facilities. In short, the ARRI Rental Group
and ARRI Film & TV Services provides everything you
need for your production - you can even watch the end
result in our state-of-the-art ARRI Cinema in Munich.
ARRI PARTNERS & ASSOCIATES
BULGARIA
Boyana Film Studios, Sofia
Cameras, Lighting, Grip
Lazar Lazarov
T +359 2958 2766
director@boyannafilm.bg
CYPRUS
Seahorse Films,
Nicosia, Paphos
Cameras, Digital, Lighting,
Grip, Studio
Andros Achilleos
T +357 9967 5013
andros@seahorsefilms.com
CZECH REPUBLIC
DEBRA, Prague
Cameras
Ivan Jiranek
T+42 022 056 1684
ivan@debrarental.com
FRANCE
Bogard, Paris
Cameras, Digital, Grip
Didier Bogard, Alain Grellier
T +33 1 49 33 16 35
didier@bogardsa.com
alain.grellier@bogardsa.com
GERMANY
Maddel’s Camera GmbH,
Hamburg
Cameras, Grip
Matthias Neumann
T +49 4066 86390
maddel@maddels.com
HUNGARY
Vision Team, Budapest
Cameras, Ligthing, Grip
Gabor Rajna
T +36 1 433 3911
info@visionteam.hu
ICELAND
Pegasus Pictures, Reykjavik
Cameras, Lighting, Grip
Snorri Thorisson
T +354 414 2000
snorri@pegasus.is
IRELAND
The Production Depot,
Co Wicklow
Cameras, Lighting, Grip
John Leahy, Dave Leahy
T +353 1 276 4840
john@production-depot.com
dave@production-depot.com
NEW ZEALAND
Camera Tech, Wellington
Cameras
Peter Fleming
T +64 4562 8814
cameratech@xtra.co.nz
RUSSIA
ACT Film Facilities Agency,
St. Petersburg
Cameras, Lighting, Grip
Sergei Astakhov
T +7 812 110 2080
astakhovs@mail.ru
SOUTH AFRICA
Media Film Service,
Cape Town, Johannesburg,
Durban, Namibia
Cameras, Digital, Lighting,
Grip, Studio
Jannie Van Wyk
T +27 21 511 3300
jannie@mediafilmservice.com

4 SECRETS BEHIND THE ART
Director of Photography Salvatore Totino talks about his
experiences shooting The Da Vinci Code.
8 THE CLOUD
Director Gregor Schnitzler and DoP Michael Mieke reflect on
putting The Cloud through DI.
12 THE BRIGHT LIGHTS OF LONDON
London’s landmarks feature in V for Vendetta.
CONTENTS
4
22
40
14
VisionARRI would like to thank the following contributors;
Stephanie Ahlen, Mo Biddle, Susanne Bieger, Simon Broad, Andreas Berkl,
Maria Carpenter, Jochen Hähnel, Mark Hope-Jones, Ingo Klingspon, Dianne Koronkiewicz,
Judith Petty, Sandra Pirchmoser, Angela Reedwisch, Claus Richter, Tibor Sands, Jeremy Sassen,
Marc Shipman-Mueller, Michelle Smith, An Tran, Sabine Welte, Jannie van Wyk.
VISIONARRI
14 THE POWER OF 416
The ARRI Rental Group introduces you to the
latest Super 16 camera.
18 THE ART OF ULTRA 16
Five new super fast wide-angle primes for Super 16.
19 DID YOU KNOW?
19 TAKE 10
20 TELLING STORIES WITH COLOURS
Digital or Analogue? DI Symposium 2006.
22 KANK
DoP Anil Mehta discusses shooting a Bollywood
production in New York.
25 LIGHTING DARK STREETS
Los Angeles sets the scene for period musical.
26 DRESDEN
ARRI Film & TV take part in eight months of
postproduction on one of the most expensive
German television productions ever made.
30 ARRIFLEX D-20
Catch up on the latest activities of the D-20.
33 MEDIA FILM SERVICE
South Africa’s leading equipment rental company.
36 THE MASTER ZOOM
Find out about the ARRI Rental Group’s most
powerful zoom.
38 ARRI STOPS FORMULA ONE IN
ITS TRACKS
ARRI Film & TV work on time-slice sequences.
40 MOMENTS IN TIME
Das Boot and the birth of the IIIC.
44 TIBOR SANDS, A LIFE IN FOCUS
ARRI CSC reflects on an extraordinary career.
46PRODUCT UPDATE
48 NEWS FROM AROUND THE WORLD
54 PRODUCTION UPDATE

SECRETS
BEHIND
THE ART
Director of Photography Salvatore Totino
on The Da Vinci Code
First published in March 2003, The Da Vinci Code by Dan Brown has been an
international publishing sensation, with sales exceeding 50 million copies to date.
The story, which follows symbologist Robert Langdon and cryptographer Sophie
Neveu on a 20-hour life or death chase across Europe, compellingly mixes
religious and hermetic conspiracy, secret societies, art history and code-breaking
within a classic suspense thriller structure. Competition to acquire the film rights
was fierce in Hollywood, with Sony’s $6 million bid eventually emerging
victorious. Producer Brian Grazer and Director Ron Howard were brought in by
Sony to take control of the project; the two have made 15 films together and their
creative partnership is a billion dollar industry. An all star cast was assembled,
including Tom Hanks and Audrey Tautou in the lead roles, and Howard turned to
the man who had photographed his last two films (The Missing, Cinderella Man) to
transform the written words into moving images.
The production shot in France, England and Scotland, with ARRICAM Studio,
ARRICAM Lite, 435 and 235 cameras supplied by ARRI Media, London.
VA: This is your third film with Ron Howard.
How has the working relationship and the
way you communicate developed?
ST: Trust. Trust has developed over that time and our
communication has continually evolved. Ron really
likes to plan, to go over things and come up with a
game plan that we review over the course of the
shoot, so there’s a constant dialogue. An
understanding has grown over the three films. He
knows where I’ll go and how far I’ll go, so there’s
times when he’ll say nothing at all because he trusts
that I won’t do anything to hurt the film.
VA: Howard has given you film references as
visual guides on previous projects – how did
you work together to decide upon the
guiding principles of your visual approach
to Da Vinci?
4
ST: References were something that we all came up
with together; there’s always films that Ron will say
“hey, check this out, check that out”, but generally
with film references it was sort of a collaborative
pool; it would be Ron, it would be the Producer, it
would be myself. Certain things in films we’d watch
might remind us of individual portions of our script,
though maybe not in a literal way. The visual
approach was something that evolved as we started
prepping. We scouted Paris and a bit of London in
January 2005, for filming at the end of June. That
was a little preliminary scout; then we came back in
April to scout everything again and over that time
period ideas started to develop. It was not a predecided
or easily defined overall approach, it was
something that evolved out of location decisions,
script revisions, the input of the actors - it was a
developing idea.

VA: You’ve said before that “lighting should
not stand out on its own, unless you’re
doing a very visual piece”. To what degree
was Da Vinci a visual piece?
ST: There are definitely visual moments in it, but you
know, it’s a thriller, so it was important to keep it dark
and moody. I took some visual references from the
photographer Brassai; I looked at his old
photographs of Paris where he had a very bright light
far in the background and I took a little liberty in
doing that in Paris, for certain scenes. Putting a sort
of angelic light at the very back of the image.
VA: On Any Given Sunday you used a
warmer lighting approach for Al Pacino’s
character, in order to evoke a sympathetic
audience response. Did you use different
lighting approaches for different characters
on this film?
ST: I used different lighting approaches to differentiate
locations rather than characters on this film. The streets
of night-time Paris have a yellow look, created by the
sodium vapour lighting and I thought it was very
important to keep that true to life. I didn’t put any
characters in different coloured light, but more the
environments. For example; the interior of the Swiss
Bank is a blue green colour; very sterile, cold and
uninviting. That was something Ron and I discussed
beforehand; we wanted it to feel slightly creepy.�
VISIONARRI
�DoP SALVATORE TOTINO sits at the camera as
Ron Howard directs
�DIRECTOR RON HOWARD with A and B cameras
�DIRECTOR RON HOWARD describes a scene as
Salvatore Totino is handed an S4 lens
�
“I USED DIFFERENT
LIGHTING
APPROACHES TO
DIFFERENTIATE
LOCATIONS
RATHER THAN
CHARACTERS ON
THIS FILM.”
5

THE DA VINCI CODE
VA: Can you talk a little about how you
utilised the different cameras you had?
ST: We had two ARRICAM Studios, two Lites, a 235
and a 435. I found that shooting sound with the Lite
was fine; it’s very versatile. And the fact that the
camera is lighter - you know I love to hand-hold the
camera or throw it on a little jib arm, so it’s very
convenient and a lot of times the Lite would be the
camera I’d operate. We’d have one Lite set up for
Steadicam, one Studio as the ‘A’ camera, and use
both a Studio and Lite for ‘B’ camera; which I was
on. I also loved the 235 and I use it a lot now on
commercials. If that camera had been available to
me on Cinderella Man, I would have been very
happy to use it.
VA: As with your previous film, you chose to
use Cooke S4 lenses on Da Vinci. What is it
you like about them?
ST: I like the sharpness of them, but also the fact that
they’re not so crisp as say the MK III Super Speeds,
which I used to use. I love the narrow depth of field
and the fall off of the Super Speeds, but working in
really low light – as we did on Da Vinci - it would
have been very hard on the Focus Pullers, and I was
already putting them through enough hell!
6
VA: You have a tendency to get in amongst
the action as a cameraman in a very
physical way on your movies, whether that
be on an American football field (Any Given
Sunday) or in a boxing ring (Cinderella
Man). Were there opportunities for a similar
style of shot-making on this film?
ST: The style of shot-making was different to previous
films; the only similar aspect was that I used at least
two cameras on every set-up, sometimes more. It was
a less physical style; I tended to use a jib arm a lot
more on this film whereas Cinderella Man was much
more hand-held. On Da Vinci we often had one
camera on a jib arm and another on a dolly, always
moving. Whether that movement was very slight and
subtle, or substantial; there was always movement,
and always two cameras. It’s a way to keep the day
moving, to get the coverage for Ron, and to ensure
that we’re not all there for 18 hours.
VA: This is the first film you have shot in
Europe. How was that experience, and was
it difficult leaving a lot of your regular crew
in the States?
ST: It’s always a little nerve-racking when you go any
place without your people. I had worked a lot in
Europe on commercials and I do travel a great deal,
so although I was nervous, I didn’t think it would be a
problem. Shooting in France was challenging
because we had to submit lighting diagrams and
camera positions to the city authorities almost three

months before shooting, which was a first for me. In
England we had the best crew I ever worked with
anywhere in the world – fantastic – incredible Focus
Pullers, great Gaffer, great Grip. And I’ve worked in
New Zealand, Australia, South America, all over
America, Canada, Mexico, Greece, Italy, France and
Spain. The English crew were incredible; I wish I
could have taken them home with me. The Focus
Pullers John Conroy and Simon Hume were the ones
who were really under the gun. John was on ‘A’
camera with my Operator, and Simon was with me,
and we developed a great relationship; he was
contributing in a tremendous fashion. A lot of the time
I was setting up lights and running to and from the
camera during rehearsals, but Simon had more time
to think about certain images and he came up with
some really great ideas.
VA: You had the challenge of shooting in
Lincoln cathedral, which doubles for
Westminster cathedral in the film. How did
you approach lighting such an enormous
location interior?
ST: It was sort of frightening at first. First of all it’s a
thousand years old, so there’s going to be some
restrictions right away; and then you look at it and
think “how am I going to be able to control the sun?”
Especially in northern England, where the clouds are
always moving and the sun is in and out, in and out.
We worked a ten hour continuous day on the film, so
I was very concerned about keeping things moving
“THE STYLE OF
SHOT-MAKING
WAS DIFFERENT
TO PREVIOUS
FILMS; THE ONLY
SIMILAR ASPECT
WAS THAT I USED
AT LEAST TWO
CAMERAS ON
EVERY SET-UP,
SOMETIMES
MORE.”
VISIONARRI
without delays. We had to come up with a game
plan that would control the sun, allow me to light the
interior in a consistent fashion and not restrict us. The
solution was a series of black-outs on high windows
and lower stained glass windows, and a sort of
curtain system, so we could lower black-out material
to keep the sun out and put up our lighting.
Unfortunately the ground all around the cathedral is
not sufficiently stable to support cherry pickers
because of the catacombs and cellars, so we needed
extra time to build scaffolding and in the end it
looked like it was under construction for a rebuild.
VA: The film was put through a Digital
Intermediate process in post. What are your
experiences and thoughts regarding DI?
ST: I’ve used the same Colourist at EFILM in
Hollywood for the DI on three films and it’s a really
important working relationship for me. I like to be
there for the grading, and the reason is that on the
day of filming, I might forego doing something on set
for the sake of saving time if I know that it will be
easy and quick to take care of it afterwards. It’s an
added paintbrush, and it’s something to embrace. I
can see why some cinematographers are cautious
about DI, because they’re worried that they might
easily lose control; that someone from the studio
might go into the grade and not like the way it’s
looking, and actually change it. Well, I think you
have to trust your relationship with the Director and
believe that he won’t let that happen. �
Mark Hope-Jones
7

THE CLOUD
8
Director Gregor Schnitzler (What to do in case
of fire?, Soloalbum) picks up the controversial topic
of atomic energy in the feature film The Cloud,
based on Gudrun Pausewang’s bestseller by the
same name. The story focuses on two young adults
who have to leave their hometown because of a
nuclear meltdown, finding hope in their love for
each other during their struggle to survive.
The film was shot on 35mm Kodak Negative
Vision2 (100T, 200T, 500T and 250D) using
3-perforation cameras from ARRI Rental Munich,
including two ARRICAM Lites, an ARRIFLEX 235
and ARRIFLEX 435, as well as a complete set of
Cooke S4 lenses (14mm-135mm). “During the
entire project we had the full support of ARRI and
its fantastic and highly qualified employees –
throughout the shoot in particular, from ARRI Rental
and Managing Director, Thomas Loher, and from
Technical Director Manfred Jahn,” says DP Michael
Mieke. “Not least because of that, the entire shoot,
and the following postproduction at ARRI in Munich
went smoothly without a problem.” continues
producer Markus Zimmer.
Disaster strikes as a murderous
black cloud threatens millions of
people with radioactive fallout
after a meltdown at a nuclear
power plant. The fear and panic
among the population, the lies
and attempts at deception from
politicians are all portrayed in a
story reminiscent of the nuclear
reactor catastrophe in Chernobyl
20 years ago.
Storytelling with Colours
Colours play a central role in the film and were
selected as a stylistic tool, to communicate the
carefree feeling of life before the disaster and the
oppressive, claustrophobic situation afterwards. For
the Producers, the Director and the DP it was clear
from the beginning, even in the planning stages,
that the entire film was to be put through Digital
Intermediate (DI). One of the reasons for
proceeding digitally was the advantage of better
integration of the VFX shots, in this case the
threatening nuclear clouds, which had to be
animated in 3D and inserted into the film.
“I consciously worked with specific colours and
contrasts which became increasingly softer or
stronger. For the beginning of the film we used
stronger colours; the young adults wear yellow,
orange and light blue. After the catastrophe, the
colours are reduced to black, blue and red. The
entire look, therefore, had to be optimally realized
with the help of colour timing in Lustre,” explains
Director Gregor Schnitzler.

The concept was for the camerawork to be inconspicuous and
to have a strong touch of realism, with the look fully
determined by dramatic composition. The creative approach
in the film follows the natural light, as the clouds darken the
sky and the earth underneath. This makes for a discreet,
almost unnoticeable, creeping change of light, thereby
creating the mood. In the film this is symbolized by the time
after the nuclear accident.” says Gregor Schnitzler and
Michael Mieke.
“We shot mostly in Bavaria with gorgeous sunshine, under an
almost constantly blue sky. But the story is set in Hesse and
therefore the Alps, which in some cases could be seen in the
background, had to be eliminated during DI and the blue sky
had to be replaced with dark, threatening clouds. We
generated the gloomy look and the outdoor threat after the
meltdown entirely in the postproduction process through
digital colour grading. Because the film is very naturalistic,
those qualities could under no circumstances jump out, which
we accomplished exceptionally well,” says Gregor Schnitzler.
The different formats for subsequent TV and DVD exploitation
were an additional argument for utilizing the digital route.
Accordingly, the HDTV mastering for the formats 1:2, 35 and
1:1,78 was carried out at ARRI.�
�ON LOCATION during shooting of The Cloud
�DIRECTOR GREGOR SCHNITZLER and
DoP Michael Mieke
VISIONARRI
“WE COULD
PRE-VISUALIZE THE
LOOK AND VIEW IT
ON THE BIG SCREEN
IN THE LUSTRE SUITE
AND IMMEDIATELY
SEE THE FILM THE
SAME WAY IT
WOULD LATER BE
SEEN IN THEATRES.”
9

THE CLOUD
10
Digital Colour Ttiming in the Lustre Cinema
The artistic and creative elements were optimally
realized at ARRI Film & TV, where, as part of
postproduction, the colour timing and the digital
intermediate process of The Cloud took place.
Traudl Nicholson completed the digital grading
on ARRI’s Lustre Master Station, under movie
theatre conditions.
“We discussed various suggestions about how to
accomplish the change of the natural colours. With
the support of ARRI we also had the chance to try
various approaches – meaning we could previsualize
the look and view it on the big screen in
the Lustre Suite and immediately see the film the
same way it would later be seen in theatres,” says
Michael Mieke and Gregor Schnitzler. “We were
also told that digital colour timing on a monitor
holds no comparison to working on the big screen
at ARRI.”
“It was great, the communication and the
relationship between us and our Colourist in
regards to the expectations and demands on the
look of the film, worked out very well. With the
help of reference pictures and scenes, which were
pre-selected jointly, Colourist Traudl Nicholson
could continue the colour timing on her own. This
way, we were able to work quickly and efficiently.”
concludes Philip Hahn, ARRI’s DI Producer &
Supervisor on The Cloud, who not only
co-ordinated the colour grading, but also the
integration of the visual effects and the animation
of the opening and closing credits created by
ARRI’s Title Designer Lutz Lemke.
“Lustre is simply ideal, to be able to realize the
dramatic composition of colour in a film like
The Cloud and to fully control it. It worked
perfectly, the result is impressive.” all agreed.
“The analogue process of colour timing or working
‘in camera’ – i.e. with various filters – would have
involved incredible effort and would not have
been as successfully accomplished.” explains
Michael Mieke.
The Principle of Digital Colour Timing
First of all, one has to compile colour references
from individual scenes of the film and then
determine the colour timing for them. The colour
corrected scenes are then recorded onto 35mm film
with the ARRILASER film recorder and a colour
sample is created. A test in the ARRI cinema will
then show if there are differences on the film copy
to the version created in the Lustre suite. Differences
can be adjusted if necessary. Then the Colourist
pre-grades the entire film to steer it in the desired
direction. Then, in individual steps, the film can be
gradually worked through until its final version is
reached. Filter and masks can be applied to work
with partial and with secondary colour correction.
According to Gregor Schnitzler it is important,
“That for each frame the ARRISCANNER is
calibrated in a way, that – unlike in an HD scan –
the zero value of 1:1 is really there, so that one
doesn’t lose any detail of the picture, making it
possible to do anything with it in postproduction.”
Shooting the Film Again in the DI Process
and Taking Better Care on Set
“The look, as it is known from the advertising
world, is finalized at a later time in the DI process.
During the work on the Lustre and the resulting,
almost endless, possibilities of colour separation,
the film is, in a way, shot again.” says Michael
Mieke, going on to explain: “But, despite all this,
it is important that during filming of the scenery,
colour concepts etc. work. Because there is no
generational loss during the scan and the
digitalization, which would alleviate little mistakes,
as was the case in analogue processing. Here
everything is and stays pin-sharp. Therefore, the
demands on the camera department, most of all the
First Assistant, have increased significantly because
the DI process and the scan are unforgiving when
it comes to blurriness and mistakes. One has to use
state-of-the-art lenses. Older equipment fails in this
case – not least because of the film material,
which has improved enormously in recent years
and has adapted to the new digital demands
in postproduction.”

He cautions, as many of his colleagues have before, not to
look at the DI process as a cheap repair shop, “Whoever
believes that everything can be fixed in post and that all
mistakes made on set can be ironed out is wrong. A lot, but
not everything is possible – out of focus shots can not be pulled
into focus during DI, even if all the colours are being turned
around.” The DP and Director agree. “Also, one doesn’t want
to sit through the DI process only to fix scenery and to correct
focus mistakes on the Lustre, instead one wants to determine the
colour and look and to work creatively! After all, this is a
valuable and very expensive time for a production,” the two
pointed out.
Teamwork in All Areas
“ARRI’s teamwork is always exceptional in all areas, because
ARRI is extremely focused on customer satisfaction. For me, it
was fantastic to grade a film on the Lustre. One walks into a
suite for the first time and sees an image that is digital but
looks, nevertheless, like a film image. It is simply incredible!
You sit in a small theatre and can stop images and optimally
colour time them. For me, as a Director, this was a new and
fantastic experience. I ventured into territories here that were
unknown to me until then.” says Director Gregor Schnitzler.
“It is a lengthy process, because it simply takes longer to
colour time a film this way, but it was great fun. And most
importantly, the result is incredible.”
In the future the Director and the DP of The Cloud want to
continue, if possible, to work on the Lustre. “It is the
technology of the present – these days you can’t even call it
‘of the future’ anymore. We would want to do it this way all
over again – and especially on the big screen again!”
Gregor Schnitzler was an ARRI customer with his previous
films, What to do in case of fire? and Soloalbum. He
concludes, “It is always my desire to work with ARRI, because
many competent people work there, who take their work
seriously and who love film. One can discuss questions on the
highest level in a sophisticated manner, and there is a
willingness to try things out, i.e. to approach a particular look
VISIONARRI
step-by-step. I have only experienced this at ARRI. I am not
exaggerating, but at ARRI there is always the desire to have
the best – meaning the best people with the best technology,
because the employees have a true passion for film and are
eager to ensure that the results are good. And that is just great
and it is really hard to find.” �
Jochen Hähnel
Gregor Schnitzler, Director
Marco Kreuzpaintner, Writer
Markus Zimmer, Clasart Film, Producer
Michael Mieke, DP
Concorde Filmverleih, Distribution
Traudl Nicholson, DI Grading
Philip Hahn, DI Producer
Lutz Lemke, Title Design
Bianca Stumpf, Colour Timing Film Laboratory
11

THE BRIGHT LIGHTS
OF LONDON
London landmarks feature in V for Vendetta
The London skyline was never brighter than when Director James McTiegue
directed the recently released Warner Brothers movie V for Vendetta.
Set against the futuristic landscape of totalitarian Britain V for
Vendetta tells the story of mild mannered young woman, Evey
(Natalie Portman - Star Wars, Episodes I-III & Closer) who is
rescued from a life threatening situation by the masked
vigilante known only as “V” (Hugo Weaving - The Matrix
and Lord of the Rings Trilogy).
Created and produced by Joel Silver and the Wachowski
Brothers, the film’s main character “V” ignites a revolution
12
when he detonates two London landmarks and takes over the
government controlled airwaves, urging his fellow citizens to
rise up against the tyranny and oppression.
The screenplay is based on the acclaimed graphic novel of
the same name by Alan Moore and is a UK / German
co-production between Warner Bros Productions Ltd and
Fünfte Babelsberg Film GmbH filmed on location in Berlin
and London.

Although the majority of the film shot in Berlin, an eight day
shoot took place at some of the most prestigious landmarks
around London, such as Trafalgar Square, Whitehall,
Parliament Square and Hatfield House. The shooting schedule
saw one of the largest and logistically challenging filming
operations that London has ever seen.
Director of Photography Adrian Biddle BSC, with over twentyfive
feature films to his name (Aliens, Thelma and Louise,
1492: Conquest of Paradise, The Mummy, The World Is Not
Enough) had a vision of how he wanted the piece to look.
“We tried to have a fairly dark look that came from the
original comic book and reflected the dark subject of revenge
and retribution and a certain kind of justice. As always there
is collaboration between the costume design, make-up, the
colour of the set and the lighting and you have to keep these
in mind when you decide on the approach.”
ARRI Media supplied the cameras including ARRICAM Studios
and Lites. Adrian commented, “I found the cameras very
adaptable and reliable, especially features like the swing-over
eyepiece which came in very handy, we had a whole range
of toys but did little steadicam and mostly stayed with dolly
and crane work. The fire scene was a little tricky but if you
know what you’re doing it’s not a problem.”
Security was tight during the packed eight day schedule with
road closures kept to a minimum number of hours in order not
to disrupt the capital. Added to that was the fact that all
scenes were to be shot at night, during the summer that meant
that the shooting time was limited to about four and a half
hours before sunrise. Timing was crucial.
Adrian explained. “It is only possible to shoot such scenes as
these if you have a very experienced crew. You have to light
by instinct and trust each other as the time you are allotted is
so small. I was lucky enough to have two very good and
experienced Gaffers, Albrecht Silberberger in Germany and
Kevin Day in London.”
Gaffer Kevin Day and Rigging Gaffer Pat Miller have known
each other for eighteen years, collaborating on features such
as Bridget Jones, the Edge of Reason, Reign of Fire and
Shanghai Knights (UK) to name only a few.
Not unaccustomed to working on large feature films, the
lighting and the rigging had to be well planned in order to run
smoothly due to the sheer size of the shoot. With over five
hundred extras, eighty Electricians and ninety security staff, an
hour to rig and the limited allotted time to shoot the scene, the
lighting department had to ensure that they were organised
and ready for all eventualities.
VISIONARRI
Kevin explained: ”A production of this size and complexity
means that there is a lot of preparation to make sure
everything goes to plan. The planning took some time but on
each night when it mattered it went like clockwork.”
The road closures didn’t happen each night until just before
midnight with strict instructions from the local authorities to
have all areas cleared by 4.30am. This meant that the
window of opportunity for the shoot was minimal and there
was no room for error.
Kevin continued, “We liaised very closely with the local
authorities such as the Metropolitan Police and Westminster
City Council who were informed of our plans every step of
the way.”
Pat Miller explained the finer details of the planning, “The
night we shot the scene at Trafalgar Square we had to ensure
that we were fully prepared, a strategy was put in place prior
to the shoot. We had to run it like a military campaign.
Battersea power station became the holding centre for the
lighting equipment, all lighting crews were then given their
final briefing before travelling to the location. There were
twelve generators and ten cherry pickers (pre-rigged) all
numbered, each one containing two and sometimes three
ARRI 18Kw HMI lamps. With a Charge Hand a team of
Electricians, a Rigger, Gennie Operator and Crane Driver
allocated to each one, each team had their own supply of
spares including lamps, ballasts filter etc, to ensure they were
self-sufficient and ready for any eventuality.”
Lighting and distribution was supplied by ARRI Lighting Rental
and to those standing by, the site of the ten cherry pickers with
their cargo lit, slowly rising from the behind the landmark
buildings made quite a spectacle. One on-looker said it
looked less like a film-set and more like the invasion scene
from War of the Worlds!
Pat continued, “All the mains distribution was cross-linked so
that at any given moment we could turn off the power to
reduce the sound near the cameras and the supply could come
from another generator further away, out of ear shot.”
Tommy Moran, Managing Director of ARRI Lighting Rental,
concluded: “As an ex–Gaffer I was most impressed with Kevin
Day and Pat Miller and their crew and the enormous amount
of skill they showed in the planning and co-ordination on this
project. With the time constraints, high security aspect and the
logistical challenges they faced, their professionalism ensured
the shoot went without a hitch.”
This article is dedicated to the memory of Director of
Photography, Adrian Biddle BSC. �
Judith Petty
�GAFFER KEVIN DAY,
and RIGGING
GAFFER PAT MILLER
(right to left)
13

14
“When many are talking about the great digital trend,” says
Franz Kraus, General Manager of the ARRI Group, “some
companies have perceived a kind of counter-trend in the last
years. 35mm film is as strong as ever, but we have also seen
an increased use of Super 16mm film. Kodak has reported a
continued high volume of Super 16 sales, while showing
increases in some markets, and our rental facilities tell us that
their 16mm cameras are constantly working. The reason is
simple: Super 16 is a high quality, low cost origination
medium. The equipment is small, robust and provides a great
number of creative options. Film has inherently ‘the film look’,
a dynamic range in excess of 16 stops and is also a global
standard that can be archived well into the future.”
ARRI is bringing features previously only
found in high-end 35mm cameras to
Super 16 productions with the introduction of
a new Super 16 camera, the ARRIFLEX 416.
Marc Shipman-Mueller, ARRI’s Product
Manager for Film Cameras and Lenses,
adds: “Various technological advances
in the last years have improved the
image quality of Super 16
tremendously: there have been new film
stocks, new telecines, new scanners,
new lenses and, of course, the Digital
Intermediate (DI). We have seen
producers take advantage of these
developments in two ways: first, Super
16 is a great image capture medium
when shooting for SD (standard

definition) or HD (high definition) broadcast. And second,
independent features have shot on Super 16 and gone DI,
which gives them the option to create a high quality 35mm
release print. As a result, for some years now
cinematographers have asked us to update the 16SR 3 with
the features they use daily on our 35mm cameras.”
The result is the ARRIFLEX 416, a lightweight modern
Super 16 film camera with a 35-style viewfinder and a
sound level similar to that of the ARRICAM. The 416 has a
completely new lightweight ergonomic design, integrated
electronic accessories and is compatible with the same lenses
and accessories used by its 35mm siblings. It runs from
1 to 75 fps, and has a manually adjustable mirror shutter
from 45 to 180 degrees.
The 416 Viewfinder
The 416 viewfinder optics have been re-designed to
incorporate fewer lens elements of a higher quality and a
shorter optical path. The result is a brighter image with
significantly higher contrast and higher resolution, so judging
focus on set will be a lot easier.
The viewfinder ergonomics are based on the ARRIFLEX 235
viewfinder, incorporating the same freedom of movement and
features. With its large exit pupil, the 416 viewfinder provides
the operator with more freedom to move without losing the
image - a great advantage when operating hand-held or
shooting action sequences. In contrast to its predecessor,
the 416 accepts almost all of the large diameter 35 format
primes, including the new Master Primes, because its
viewfinder is located higher above the lens mount.
VISIONARRI
A new RGB ARRIGLOW has been built into the 416
viewfinder, so you can choose any colour you like. Choose
magenta framelines when shooting green screen, red for
jungle, yellow for blue skies.
The 416 viewfinder is accompanied by a video assist that has
the same image quality and features as the ARRICAM video
assist, with the addition of some added benefits such as colour
bars, adjustable electronic image enhancement and manual
white balance. Using the same optical layout already proven
in the ARRIFLEX 235, the viewfinder and video assist are
independent of each other. This makes a switch from handheld
to Steadicam quick and eliminates the need for a 100%
video top. Additionally, two 12V accessory outputs on the
video assist can power an on-board monitor and a video
transmitter at the same time.
Sound Design
The 416 uses a completely new sound insulation design that
makes it as quiet as the ARRICAM. An outer shell contains an
inner skeleton that is suspended by symmetrically positioned
rubber insulators. The camera’s movement and other parts,
which create vibrations that cause unwanted sound, are
mounted to the inner skeleton. The insulators prevent any
sound from the inner skeleton reaching the outer shell. The
symmetrical positioning of the insulators ensures that the flange
focal distance stays constant so there is no change in depth
from heat or cold.
A brushless silent torque motor powers the 416 magazine,
so there is no noisy mechanical linkage between camera and
magazine. And just like the camera, the magazine consists
of an outer shell with inner skeleton separated by rubber
insulators, making it the quietest 16mm magazine ever built.�
15

THE POWER OF 416
16
Ergonomic Flexibility
Cinematographers and producers choose to shoot in Super 16
because of the flexibility provided by smaller and lighter
equipment. One of ARRI’s goals has been to further increase
portability, while providing many of the features crews have
come to expect from 35mm cameras.
The weight of the 416 has been reduced by an amazing 25%
in comparison to the 16SR 3 Advanced, when comparing a
configuration including body, viewfinder, IVS and magazine.
Its shape has been completely redesigned to make it smaller
and to give it a lower profile, while providing a cut out that fits
snugly on the shoulder. To avoid all the clutter of extra boxes
and cables that tend to hang off the camera, the video assist,
lens motor drivers and a wireless radio can be integrated
directly into the camera body – the camera then becomes an
ARRIFLEX 416 Plus.
A new split bridgeplate means that the camera can be
removed from a zoom lens/tripod configuration in two quick
steps: open the lens mount, split the bridgeplate and the
camera pops off. The second assistant can then dismantle the
zoom lens, while the operator is already shooting hand-held.
Lenses
Almost all PL mount lenses for the Super 16 and 35mm formats
can be used on the 416, including the high-speed, high
quality Master Primes and the Ultra Primes.
In addition, five brand new T1.3 prime lenses have been
developed specifically for the Super 16 format: the Ultra 16
lenses. With focal lengths of 6, 8, 9.5, 12 and 14 mm the
Ultra 16 lenses further extend the Ultra Prime family. The Ultra
16 lenses are a perfect match for the 416; they exhibit the
same resistance to flare as the Master Primes and give
unprecedented image quality even when opened to their
maximum aperture of T1.3.
Control & Power
The 416 control panel should be familiar to anyone who has
ever worked with a modern ARRI camera. The 416 has
inherited the control panel design and illuminated buttons of the
235, so the camera can be operated without further training.
The new, powerful and smart Lithium-ion on-board battery
OBB-2 can run up to five magazines while keeping camera
and video assist in standby for more than 2 hours. With a
built-in power gauge the state of an OBB-2 can be quickly
determined, and since the OBB-2 communicates with the
camera, the 416 can accurately display its current voltage,
remaining capacity or how many more magazines the battery’s
charge can run.
The 416 Camera System
The 416 is compatible with an extensive range of new and
existing ARRI accessories that follow the same design philosophy
used in the creation of 416 body and magazines: increasing
efficiency on the set. Two new handles have been designed, one
for normal and one for remote use. These include such details as
a flip-up tape hook and different height platforms for Steadicam
or for under-slinging the 416 on a remote head. Like the 235,
the 416 has extra 3/8” attachment points with location pin holes
for twist free attachment of accessories or extra secure rigging. �
Main Features at a Glance
The Quietest 16 mm Camera
Sound less than 20 dB(A)
35-style Viewfinder
Brighter, higher contrast, higher resolution
Bigger exit pupil allows more eye
movement
Multi-colour RGB ARRIGLOW
Accommodates even wide diameter
PL mount lenses
Excellent optical quality with eyepiece
extension
High Quality Video Assist
Improved image quality
Adjustable electronic image enhancement
2x 12V accessory power outputs
Compact & Lightweight
Small camera body
Low profile design
25% lighter than 16SR 3
Ergonomic Design
Ergonomic shoulder cut out
Viewfinder removes quickly for Steadicam
and remote applications
Optional integrated radio & lens
motor drivers
Split bridgeplate for fast switch from
tripod to shoulder
First Reactions
“It’s great that a company
like ARRI, which is on the
forefront of digital
technology with the D-20,
still recognizes how
valuable film is with the
416 camera. This is a
terrific new product for
filmmaking and for indie
films, this is huge.”
DoP Woody Omens, ASC
“Saw the demo at
NAB2006. It’s a little
smaller than the SR 3, but
be prepared to drool over
the viewing system....
that’s the big sell, and the
ARRIGLOW even changes
colour, just in case you
couldn’t see your frame
before when shooting that
“red” scene...”
DoP James West
From a discussion group on Cinematography.com

“Having played with the camera for
about thirty minutes I can say that
it is noticeably lighter than the SR,
fits your shoulder quite nicely, has
a great viewfinder, is practically
noiseless, and loads as simply as
my old SR.”
DoP Tim Carroll
From a discussion group on Cinematography.com
VISIONARRI
16mm Product
Range
416 Plus 416 16SR 3
Advanced HS
Speed Range (fps) 1-75 1-75 5-150
Shutter Angle 45-180° 45-180° 45-180°
150 Degree Shutter
Angle (1)
Yes Yes No
Sound (dBA)

Five Super Fast Wide-angle Primes for Super 16
The introduction of the ARRIFLEX 416
also brings with it five brand new prime
lenses that have been developed
specifically for the Super 16 format, the
Ultra 16 lenses. The new Ultra 16 lens
set consists of five high-speed primes
with focal lengths of 6, 8, 9.5, 12 and
14 mm. All cover the full Super 16
format and match the optical quality
and ergonomics of existing ARRI Zeiss
Ultra Prime lenses.
Much of the design of the Ultra 16
lenses is based on research carried out
for the creation of the Master Primes.
One of the outstanding features of these
new lenses, unmatched by any other
lens manufacturer, is the fact that the
Ultra 16 lenses are super fast at T1.3,
while showing excellent optical quality
over the whole T-stop range. In addition,
T1.3 allows for the creation of a
shallow depth-of-field, a look that is
inherent in the Super 35 format, and
often sought after in other formats.
18
The Ultra 16 lenses have the new Zeiss
T* XP multi-layer, anti-reflection lens
coating, which provides greater
resistance to flares and ghosting, as
well as improved contrast. The lenses
have an exceptional resolution, true
colour fidelity and their optical quality is
maintained over the whole image field
and across the entire focus range.
The colour balance of the Ultra 16
lenses is Super Colour Matched to other
ARRI Zeiss lenses, including the Ultra
Primes, Master Primes, Variable Primes,
Master Zoom and the Lightweight Zoom
LWZ-1. Consequently, they can be
easily mixed with the longer focal
lengths of the 35 format Ultra Primes.
The advantage of using the Ultra 16
lenses and adding Ultra Primes, starting
with a 16 mm Ultra Prime, is that just
one matte box is required as the Ultra
16 lenses and the Ultra Primes from
16 to 135 mm have the same front
diameter of 95 mm.
The Ultra 16 lenses and Ultra Primes
have exactly the same lens rings for full
mechanical compatibility. The Ultra 16
lens scales are distinctly colour coded in
order to avoid confusing the different
lens types and have yellow scales for
focus and aperture, while the Ultra
Primes traditionally have white scales.
The Ultra 16 lenses also have a blue
ring next to the PL-mount, while the
Ultra Prime barrel is completely black. �

Did youknow?
The Agony and the Ecstasy 1965
Directed by Sir Carol Reed (The Third Man, Odd Man Out),
this adaptation of the identically titled biographical novel was
shot in both Todd-AO and Cinemascope.
Charlton Heston pushed a steel rod up his nose to make it
resemble Michelangelo’s broken proboscis, while Rex
Harrison refused even to grow a beard for his portrayal of
Pope Julius II, who was the first unshaven Pontiff.
The Thomas Crown Affair 1999
The Claude Monet paintings featured in the film: ‘San Giorgio
Maggiore at Dusk’ and ‘Wheatstacks’, are not actually
owned or displayed by the Metropolitan Museum of Art in
New York. ‘San Giorgio Maggiore at dusk’ was bequeathed
to the National Museum and Art Gallery, Cardiff, Wales in
1952 and forms part of their permanent collection.
‘Wheatstacks’ is in the Getty Museum in Los Angeles.
The painting of a man wearing a dark suit and bowler hat,
with an apple covering his face, is entitled ‘Son of Man’,
and was painted by Rene Magritte in 1964.
How to Steal a Million 1966
Director William Wyler initially wanted to make this film as a
follow up to Roman Holiday (1953), with Gregory Peck
playing the male lead opposite Audrey Hepburn. Envisioning a
dark and moody look for the film, he even approached Stanley
Kubrick, who had recently shot The Killing (1956), for ideas.
Peter O’Toole would eventually get the part instead of Peck.
George C Scott was originally cast as Leland, but was fired
by Wyler when he arrived late for his first day of filming.
His replacement was Eli Wallach.
Pollock 2000
Starring in and directing this biopic of artist Jackson Pollock
proved so exhausting for Ed Harris that he collapsed on the
set and had to be taken to hospital.
Harris’s father had bought him a book on the painter, purely
because he felt Ed bore a strong physical resemblance to
Pollock, which prompted the actor’s fascination with his life
and work.
The August 8th, 1949 issue of ‘Life’ magazine which features
in several shots is genuine, though the pages of the Jackson
Pollock article inside are reproductions of the original, with
Ed Harris’s image substituted for Pollock’s.
Lust for Life 1956
Director Vincente Minnelli had a portion of a field
painted yellow to make it match the bold colour in
Vincent Van Gogh’s painting.
Many of the locations used for filming were places Van Gogh
really visited in his life.
The colour process used for the film
(Ansco Color, but labelled in the credits
as Metrocolor) uses dyes that have
proved to fade more rapidly than those
used in other processes. Subsequently,
many prints have lost the vivid colour
palette of the movie’s original images.
Anthony Quinn’s performance as Paul
Gaugin is reputedly the shortest ever to
win an Oscar. He is on screen for
around 10 minutes.
Take
10
Dianne
Koronkiewicz
Assistant Camera Person
VISIONARRI
Diane thrives in the cement jungle of New York city working
on movies and commercials, but to balance her life she
likes nothing better than disappearing into the tropical rain
forests of central America to escape from it all.
Diane is currently working on her suntan. Her other most
recent credits are Jonathan Demme’s concert feature film
Neil Young: Heart of Gold and multiple television
commercials.
1 What film first inspired you to work in
this industry?
Fellini´s La Strada. The perfect combination of energy
and chaos.
2 What’s your cure for the ‘morning
after the wrap party’ feeling?
Late night cigar bars.
3 Name three things that make you smile?
Fine wine, good cheese, spicy sopressata in good company,
& progressive techno, preferably somewhere in the tropics by
the sea.
4 What was the first car you ever owned?
A gas guzzling, metallic green, 1972 Plymouth Valiant.
5 What’s the one thing you can’t live without?
Two things in fact, Italian boots and Negroni beer.
6 If your life was a film, what film would it be
and why?
Predator meets Afterhours, a blend of the jungle and the city.
7 Most embarrassing moment?
While on location in Manuel Antonio, having the crew tell me
the second week of shooting that they enjoyed the old, red
string bikini more than the new, more sporty ones I had
someone make especially to work in.
8 Who inspires you?
Fritjof Capra, a physicist who has written about the parallels
between ancient traditions and 20th Century physics.
9 Three people (living or dead) you’d most like to
dine with?
Natalie Wood, Sander Kleinenberg and Fidel Castro.
10 What was the last film you saw?
The Costa Rican premiere of Brokeback Mountain in San Jose.
19

Telling Stories With Colours
Digital or Analogue
DI Symposium 2006 in the ARRI Cinema
�TRISTAN & ISOLDE,
a Scott Free Production
THE ROBBER
HOTZENPLOTZ,
a Collina Film Production
�
�ES IST EIN ELCH
ENTSPRUNGEN,
a SAM Film Production
20
ARRI Film & TV, as part of its schedule of
regular informative events, co-hosted a
‘Digital Intermediate’ symposium with the
German Society of Cinematographers
(Bundesverband Kamera (bvk)) on March
11th, 2006 at its in-house ARRI cinema in
Munich/Schwabing.
“Telling stories with colours – digital or analogue” was the
motto of the practice-oriented discussion of colour timing. ARRI
Film & TV experts illustrated the various possible workflows in
lectures and presentations with clips from current films. The
pros and cons of Digital Intermediate (DI) and traditional
analogue colour timing in the film laboratory were examined.
The creative, artistic, aesthetic and financial rather than
technical aspects were the focus of the event.
The following questions were addressed
by ARRI experts and discussed with
the audience:
When and where does digital colour
timing make sense?
What creative possibilities does DI offer?
What are the pros and cons?
What are the differences to colour
timing in an analogue film laboratory?
What is the cost-benefit ratio of the two
types of processing?
D-20: When is the use of digital
cameras appropriate?
The event was moderated by
Angela Reedwisch, Key Account
Manager of ARRI Film & TV. She also
lectured, as part of the DI symposium,
on prices – meaning the cost-benefit
ratio of the two postproduction
processes, using a 90-minute feature
film as an example.
But first ARRI’s General Manager,
Franz Kraus, welcomed the guests to the
event and provided an outlook on
general developments and issues that
are emerging in the international film
business, not just those related to
digitalization. He reported on the
technical redesign of the D-20, ARRI’s
digital film-style camera, of which 20
additional units are currently being
manufactured for worldwide rental
through the ARRI Rental Group.
The Head of the Film Laboratories,
Josef ‘Sepp’ Reidinger, moved the
discussion on to practicalities; initially
exploring the traditional photo-chemical
route and the diverse creative
possibilities of analogue colour timing,
as well as how various particular
processes can create unusual and
interesting looks. Furthermore, he
explained how analogue processing in
the film laboratory and digital colour
timing can be combined. “To achieve
that, Lustre from Autodesk is the ideal
tool to digitally complement and refine
the already existing look from analogue
grading. With Lustre one has almost
endless creative and technical

�THE ARRI TEAM, Utsi Martin, Josef Reidinger, Traudl Nicholson,
Henning Rädlein, Angela Reedwisch, Rainer Schmidt, Jürgen Schopper
(left to right)
composition possibilities,” commented ARRI Colourist Traudl
Nicholson, who has extensive experience in analogue as well
as digital colour timing. Josef Reidinger and Traudl Nicholson
illustrated and commented on these issues with the help of
clips from the following films: Der Neunte Tag (Prod: Provobis,
Dir: Volker Schlöndorff, DP: Tomas Erhart), NVA (Prod: Boje
Buck, Dir: Leander Haußmann, DP: Frank Griebe) as well as
Der die Tollkirschen Ausgräbt, a black and white film (Prod: X
Filme Creative Pool, Dir: Franka Potente, DP: Frank Griebe). “It
is our goal to maintain the classical film look, even if a digital
route is chosen for film finishing,” reassured Josef Reidinger.
Afterwards, Rainer Schmidt, an experienced and seasoned
ARRI Colourist, and Florian ‘Utsi’ Martin, a digital Lustre
Colourist, discussed the colour grading on Organize Isler
(Prod: BKM, Dir: Yilmaz Erdogan, DP: Ugur Icbak) and Tristan
& Isolde (Prod: 20th Century Fox / Ridley Scott, Dir: Kevin
Reynolds, DP: Artur Reinhart).
The following films were used as additional highly instructive
examples to illustrate modern colour timing: Requiem
(Prod: 23/5 Filmproduktion, Dir: Hans-Christian Schmid,
DP: Bogumil Godfrejów), Die Wolke (Prod: Clasart Film,
Dir: Gregor Schnitzler, DP: Michael Mieke), Reine Formsache
(Prod: Independent Players, Dir: Ralf Hüttner, DP: Hannes
Hubach), Der Räuber Hotzenplotz (Prod: Collina Film,
Dir & DP: Gernot Roll), Es ist ein Elch entsprungen (Prod: SAM
Film, Dir: Ben Verbong, DP: Jan Fehse) as well as Der Fischer
und seine Frau (Prod: Constantin, Dir: Doris Dörrie,
DP: Rainer Klausmann).
Afterwards, Markus Kirsch, Department Head of TV
Postproduction at ARRI Film & TV, spoke about the state of
HDTV and its future in television. As an example, the
successful and multiple award-winning documentary Die
Große Stille (Prod: Philip Gröning Filmproduktion, Dir & DP:
Philip Gröning) followed. The film was mostly shot on 24P
HDCam and was colour corrected and colour timed at ARRI.
Henning Rädlein, Head of ARRI Digital Film, discussed among
other things the HD tape-to-tape colour grading on Pogle OiXi
and the recording with the ARRILASER onto 35mm, as well as
the making of the release print in the film laboratories.
Producer Jörg Schulze and Colourist Stefan Ciupek, who were
in the audience, reported on stage about the shoot and the
complications it faced, the linking of postproduction and the
location shoot, as well as the colour grading itself, which was
done at ARRI by Stefan Andermann.
VISIONARRI
After lunch, Henning Rädlein ran through the individual steps
of the Digital Intermediate workflow and high resolution digital
work environment within postproduction – from the shooting
medium to the data file. He discussed all possible processing
steps such as colour grading, the seamless integration of VFX
shots, titles and the mixing of various recording formats, also
the exploitation for TV and DVD and finally recording with the
ARRILASER onto 35mm film stock.
He pointed out, in reference to increasing digitalization, the
relevance of digital score masters for distribution in digital
theatres: “It will become more and more important to finish the
entire film digitally, because when the digital theatre becomes
a reality, which will sooner or later be the case, digital
finishing will be a necessity, due to the fact that only digital
information can be projected in digital theatres.”
ARRI offers its customers two alternatives for digital colour
timing - the more cost-effective colour correction on the socalled
‘RGB’ Lustre grading station; for primary colour timing,
and the ‘Deluxe Version’ on the big Lustre master station; with
secondary grading. Digital colour timing can now be carried
out, even in the more cost-effective primary RGB suite, under
conditions similar to a theatre - on a large screen and with 2K
projection. Opticals (i.e. dissolves, motion events, frame
duplications etc.) will continue to be digitally processed with
the primary version of the Discreet Lustre in connection with
the ARRISCAN.
Henning Rädlein also pointed out in his lecture the importance
of analogue material for film archiving purposes. He
commented: “In the U.S. most big films are being archived
analogue, because digital storing is simply too insecure and
therefore too dangerous. For that reason, we strongly
encourage all our customers to have their film negative
recorded multiple times. Kodak, for example, estimates a
lifetime of 100 years for its material.”
Finally, Prof. Jürgen Schopper, Creative Director & VFX
Supervisor at ARRI Film & TV, made a clear and informed
presentation - with the help of clips from Der Räuber
Hotzenplotz - about the many visual effects (VFX) and creative
tasks ARRI completed during the digital postproduction of this
successful children’s movie.
To sum up the conclusions of the DI event at ARRI, it can be
said that there isn’t one clearly superior process in either the
shooting stage or the postproduction stage of filmmaking. The
technical processes and the creative possibilities constantly
develop and will continue to evolve. “It will therefore continue
to be an art to select the appropriate formats for recording
and film finishing for individual projects. These choices involve
aesthetic, technical and economic parameters, which all have
to be considered and fulfilled. Producers and Directors
therefore face certain demands; we, as service providers,
offer the technical products and as a service to our customers,
make the necessary know-how available”, concluded
Franz Kraus, General Manager of the ARRI Group. �
Jochen Hähnel
21

Kank
A Bollywood
Production Filming
in New York
Manhattan has seen many
amazing things, but even the city
that never sleeps was
unprepared for the impact of a
full-scale Bollywood production
filming on its streets.
Kank is the latest feature film project from Dharma Productions
and stars some of the biggest names in Bollywood. Their
presence at any of the New York locations and the spectators
that they drew could bring the area to a complete halt, a
reminder never to underestimate a film industry with an
audience estimated at 3.5 billion.
Kank stars the legendary Amitabh Bachchan along with Shah
Rukh Khan, Rani Mukherjee, Preity Zinta, Abhishek Bachchan
and Kiron Kher. It is directed and produced by Karan Johar,
the son of the Dharma founder Yash Johar. Amongst the films
previously directed by Karan Johar, Kabhi Khushi Kabhie
Gham entered the US and UK Top 10 box office charts and
had long running mainstream releases in France, Germany
and Poland.
Kank was shot over 70 days at 60 locations throughout
New York and New Jersey. It was photographed by Anil
Mehta, one of the leading Cinematographers in India. Having
previously used an ARRICAM from ARRI Media in London on
UK Producer Charles Salmon’s production Marigold, Anil was
keen to repeat the experience when filming in New York and
at Charles’ suggestion he contacted ARRI CSC.
In addition to his use of the ARRICAM, Anil chose the Super
35 format, and a Digital Intermediate process in
postproduction. Both of these choices are relatively new to the
Indian film industry, where anamorphic is traditionally the
format of choice.
VisionARRI caught up with Anil back in India whilst he finished
principle photography on Kank earlier this year.
22
“I FEEL THAT THE
ARRICAM IS A
VERY VERSATILE
BLEND OF CAMERA
DESIGNS.”
VA: Have you filmed in New York before?
AM: Yes – in fact I have, in 2003 for another Hindi feature film
Kal Ho Na Ho.
VA: What were your impressions on this occasion?
AM: New York is such an intense cataclysmic sensorium that it
leaves me gasping for breath. Trying to fit a vertical city into
an anamorphic frame, trying to film through changing seasons
(September to December 2005), trying to create rain in subzero
temperatures, trying to make a predominantly outdoor
schedule work when after 4.30pm it is not even T2 – these are
some of the impressions that will remain, along with the great
sushi, an Ethopian dinner and the Belgian beer.

�DIRECTOR KORAN JOHAR and DoP Anil Mehta (left to right)
�ACTRESS PREITY ZINTA with Anil shooting from above
�
�ASSEMBLED CAST Preity Zinta, Abhishek Bachchan, Rani Mukherjee (left to right)
VA: What are the most distinctive differences
between filming in India and in New York?
AM: The difference is that in India we plan, then let
circumstances and chance take over, madness ensues and
films get made. In New York we plan, distribute paper, talk
methodology, distribute paper, plan some more, distribute
more paper, then chance and circumstance take over,
madness ensues and films get made. As long as films get
made and not a Kafkaesque castle, I sleep well. Our Line
Producers in New York, Anadil & Driss worked very hard to
bridge the cultural gaps and make our filming possible. Joe
White, our Location Manager also adapted rather well to our
‘organic’ approach. Without them New York would have been
an impenetrable castle.
VA: You used an ARRICAM on Marigold prior to
Kank. What drew you to making that decision?
AM: I feel that the ARRICAM is a very versatile blend of
camera designs as they have evolved. I enjoy its compactness,
its lightness (as the Lite), its reliability (no down time at all, on
either film), it’s simplicity with the user-friendly electronic
control panel and film transportation and its versatility in
Steadicam or hand-held mode. For a sync. sound project it will
definitely be my first choice.
VA: What lenses did you choose for Kank?
AM: I chose the Zeiss Ultra Prime range, for the simple reason
that they were the sharpest set available to me. Since the film
is Super 35 and going through a DI process, I chose to stay
with the sharpest image capture available to me.
VISIONARRI
23

KANK IN NEW YORK
24
VA: You tested examples of the new ARRI
Master Prime lenses while you were
filming. What were your impressions?
AM: I did get a chance to lay my hands on some
Master Primes while at work, and though I cannot
claim to have tested them systematically I was quite
taken by their vivid clarity – the image in the
viewfinder was a delight. In addition the ability to
eye focus even the wide lenses at long distances,
the complete lack of breathing and the clarity of
the markings were all very reassuring.
VA: You have pioneered the use of the
Super 35 format. What do you see as its
advantages on this production?
AM: Super 35 is being used more and more in
India. It would not be right to say that I have
pioneered it in any way. In fact I have probably
waited for the technology to be primed before
using it.
VA: You are also using the Digital
Intermediate process in postproduction.
Is this common practice in Bollywood?
AM: Digital Intermediate is still in its stabilizing
stage in India, although an increasing number of
films are taking this route. With Kank I will
probably be scanning at 4k then down sampling to
2k, an option only recently available to us. The
Digital Intermediate chain is gaining currency very
rapidly in India. Almost every movie has some
component of DI (titles, VFX, opticals) and
increasingly features originating on the Super 16
or Super 35 format are taking the DI option (Zinda
and Rang de Basanti). Also films originating on 4
perforation. anamorphic (a very popular format in
India) have chosen to go DI for the “look” (Black &
Paheli). The DI chase in on; the technology and
those who operate it now need deliver.
VA: The Indian film industry is easily
underestimated. What would you like to
see from a company like ARRI in terms of
support for such a prolific market?
AM: We have a forum in Mumbai called “The
Cinematographers Combine” which has been
interacting with ARRI over the years. The one thing
we have not tired of repeating is that ARRI needs a
direct presence in India, to support all the ARRI
equipment that is the Indian market standard. Also
to further develop the sale & distribution of new
products and to recognize a significant market that
needs to be nurtured.
With thanks to Anil Mehta and to Anadil Hossain
of Dillywood Inc. of New York for their cooperation
with this article. �
Simon Broad
“I DID GET A
CHANCE TO LAY
MY HANDS ON
SOME MASTER
PRIMES… I WAS
QUITE TAKEN
BY THEIR VIVID
CLARITY – THE
IMAGE IN THE
VIEWFINDER
WAS A
DELIGHT.”
�DoP Anil Mehta
What Does “Kank” Mean?
Director Karan Johar is known for frequently using
acronyms of his film’s titles. This is also the case here,
where “Kank” stands for ‘Kabhi Alvida Naa Kehna’ –
loosely translated: “Never say Goodbye”.

The magnificent art deco
buildings of downtown Los
Angeles set the scene for
Director Rachel Samuels’
period musical Dark Streets, a sexy
tale of nightclub owner Shaz
Davenport who, in the last
flickering moments of his life, tries
to piece together the mystery of his
own murder. Produced by Glenn M.
Stewart and Claus Clausen, together
with Andrea Balen and Corina
Danckwerts of LA based
independent production company
Capture Film International, the film
noir musical was shot at many
original landmark buildings and
locations including the Los Angeles
City Hall, the legendary Hollywood
cemetery, the Los Angeles Theatre
and Tower Theatre – both on
Broadway in downtown LA.
Lighting
Dark Streets
�DOP SHARONE
MEIR designs an
overhead
sequence of the
dancers from the
crane
�THE CHORUS
GIRLS in vintage
costume glow
under the
meticulous lighting
design of Gaffer
Russ Griffith
© Capture Film Int’l
Assisting DoP Sharone Meir in achieving the visual look of the film was Gaffer
Russ Griffith with a lighting package supplied by Illumination Dynamics LA. “In
pre-production, there was talk of such films as Chinatown and Chicago in terms
of visual feel, “ says Griffith. “Dark Streets is a story spun from a dying man’s
lips and we worked very hard to convey the weight of this visually. Swing & tilt
lenses, often a frustratingly slow t-stop, and wide sweeping 360-degree shots
were factors that contributed substantially to the dream-like quality we were
looking for. In the end, I believe we created something quite original and
visually stimulating.”
VISIONARRI
The nightclub scenes were shot at the Tower Theatre, where Production Designer
Frank Bollinger created an entire nightclub, including a stage where all the
essential song and dance numbers were performed. Emmy-nominated Costume
Designer Maria Schicker designed exquisitely seductive costumes for the lead
singer Crystal, played by Bijou Philips, as well as magnificent period pieces for
the chorus girls, dancers and the rest of the cast.
It was the Tower Theatre set that presented one of the toughest rigging challenges
for Griffith and his team. A vast array of lighting was used to cover an area
spanning three hundred feet, which was spread over two floors. “We used
practicals, fifty-four Source 4s, five MAC 2000s, two ARRI T12s, more practicals
- with no lighting grid, seventy-five feet of cyc strips, even more practicals, one
truss suspended thirty-four feet from the second floor, and carried out seven gel
swaps for seven song and dance routines,” summarizes Griffith. “We were at
this location for three weeks; our longest stay at any one location. It was by far
the toughest part of the show due to time and man-power constraints but it was
all made possible thanks to our Rigging Gaffer J.A. Byerly and his guys.”
Another factor that added to the challenges of the shoot was the use of swing
& tilt lenses. Although they lent themselves beautifully to creating the required
look for Dark Streets, the fastest lens was T2.3. “Slow lenses coupled with
large locations and dynamic shots made for some real lighting challenges.
Everyone knows where the light should go, but what if that is in the shot, then
what? We utilized practicals enormously and I was very thankful for the added
punch of the ARRI lights. We had everything from little concealable 300s up to
the brilliant T12s.” When choosing lighting Griffith favours the ARRI T12. “I am
a zealous fan of the T12. Like all ARRI lights, it is compact and potent. This
effective light was a real workhorse and a lifesaver for us on Dark Streets. I
believe it will become the new industry standard”, Griffith concludes. “All in all,
it was a pleasure to contribute and collaborate on this project.” �
Michelle Smith
© Capture Film Int’l
25

Dresden
Nico Hoffmann and Sascha Schwingel, Producers at teamWorx Television &
Film in Berlin, have again collaborated with Roland Suso Richter, Director of
successful previous teamWorx projects (Kein Himmel über Afrika, The Tunnel),
for a two-part television mini-series entitled Dresden. This anti-war drama
reached more than 12 million viewers on network television (ZDF), making it
the highest rating TV movie on German television since 1992.
The film is a co-production of teamWorx, the ZDF television network and EOS
Entertainment (Jan Mojto). ZDF Executives behind the project were Heike
Hempel and Günther van Endert. The project was funded by the
FilmFernsehFonds Bayern, the Filmstiftung NRW, the Mitteldeutsche
Medienförderung MDM and the Medienboard Berlin-Brandenburg.
International distribution is being handled by EOS.
26

“MORE THAN 12
MILLION TELEVISION
VIEWERS SAW THIS
FILM - PROOF THAT
QUALITY AND
RATINGS GO HAND
IN HAND.”
Before Dresden, teamWorx had carried out
postproduction at ARRI Film & TV in Munich on TV
movies such as The Airlift (November 2005: more
than 8 million viewers) and Storm Tide (February
2006: more than 11 million viewers). Dresden
became the company’s third sensational ratings
success in the winter of 2005/2006. “The fact that
more than 12 million television viewers saw this
film is proof that quality and ratings go hand in
hand”, says Nico Hoffman, Managing Director and
Producer at teamWorx. His colleague Sascha
Schwingel adds: “It makes me extremely happy that
the intensive work of the entire team was rewarded
and valued in this way.”
With a budget of ten million Euros, Dresden is one
of the most expensive German television
productions ever made. Written by Stefan Kolditz,
its fictional story takes place against the historical
backdrop of the air raid carried out by Allied
Forces on Dresden in February 1945. The
architecturally rich city, known since the Eighteenth-
Century as the Florence of the Elbe, was razed to
the ground and thousands of its residents, most of
them civilians, were killed. The film, in which a
German nurse (Felicitas Woll) falls in love with a
British bomber pilot who has been shot down (John
Light), allows viewers to see both sides of the story
in an impartial way.
VISIONARRI
The film came together during a 70-day shoot at
original locations in the Saxon capital, as well as
in Leipzig and Cologne. There followed an
exhaustive 8-month postproduction phase based at
ARRI in Munich, which involved the entire sound
mix as well as visual elements.
Throughout the shoot, the negative was developed
and video rushes pulled at ARRI, so that they could
be onlined directly from the digi-betas after they
were scanned on the Spirit in SD. Head Colourist
of the entire production was ARRI’s Natalie
Helgath. After the external offline edit was carried
out by Roland Suso Richter on an Avid, Tatjana
Schröter of ARRI Film & TV went ahead with the
online edit. “VFX shots were worked on externally
throughout the process; even the sample phase -
meaning we constantly clipped shots which
required visual effects work and sent them on
digi-beta to the VFX facility. The entire online was
carried out on the Avid Adrenaline, as is the case
with most classical TV productions”, says Tobias
Bohlinger, Project Co-coordinator for TV Drama at
ARRI Film & TV.
“Simultaneously, a lot of archival material from film,
VHS, DVD and other formats was edited in during
postproduction. Right until the end we, together
with the Producers, tried to locate original film
footage to scan in. The Producers and Executives
agreed that for the sake of authenticity, inferior
quality was something we had to accept in order to
have the source material in the film”, he continues.
The question of how extensively they should touch
up the archive material arose continually: “Aside
from the fact that it just wasn’t possible in some
cases – because there are shots that are beyond
repair – part of the charm of archival material is
that it is old and looks old”, says Tobias Bohlinger.
27

DRESDEN
It is interesting that many new shots were digitally
altered at ARRI to make them look old. This visual
‘film damage’ was the job of Jan Mehlhase, who
inserted dust, scratches and flickering during the
exposure onto film using special PC-based software.
“On the Combustion, or rather the Flint, individual
shots that particularly looked like archive images
were adjusted for the edit and made to look old”,
explains Jan Mehlhase. “Normally one removes
mistakes, artifacts or dust, but in this case we added
them. This undertaking had to take place after the
final colour grading because noise reduction was
carried out as part of the normal colour timing and
the DVNR noise reduction would have filtered out
everything I had built.”
“Colour played an intentional role in the dramatic
exposition. During the black-out phase prior to the
attack, no regular light sources could be seen in
town; only the blue light in the entryways of official
buildings. Then the RAF flares (known as Christmas
trees) being thrown from the planes immersed
everything in a sort of greenish light, while on the
fire set we worked exclusively with fire as the light
source”, DP Holly Fink explains. The contrast
between these light sources, bolstered by the colour
timing, was used as a tool to separate locations
clearly and make it easier for viewers to ‘find their
way around’ during the film.
Authenticity was generally an important aspect of this
TV movie and was reflected in more than just the
archival footage and colour timing. All English pilots
and military personnel were played by British actors
who spoke English on set, while the German actors
spoke in German. Unlike in similar films set during
World War II, exterior scenes were not shot in
Eastern Europe. “It was a conscious decision to shoot
at the original locations in Dresden, especially at the
‘Frauenkirche’, which was a tricky building for us,
because the church had not been entirely restored
yet and the inside was being restored from blueprints
predating 1945. The ‘Fürstenzug’ and the
‘Augustusbrücke’ are also locations which can only
28
be reproduced authentically in Dresden”, explains
Producer Sascha Schwingel. The main titles, as well
as the numerous inter-titles for Dresden, were created
at ARRI in Munich. The Title Designer was Stefan
Söllner, who created the titles in the classic
Videodirector with an Aston Motif title generator and
an A 57 DVE.
TV Production with Cinema Sound
Even when it came to the large-scale sound mix of
Dresden, authenticity was the key concern. It was
teamWorx’s intention from the beginning to produce
an impressive, experiential soundtrack in the 5.1
format, because so much more can be achieved with
6 channels. Cinema sound for television and the
associated broadcasting facilities required at TV
stations are not the established norm in Germany at
this time.
“The work on the visual level was truly extraordinary
– the fear of dying and the closeness to death came
across exceptionally well – and it was the task of the
sound to complement this dramatic visual impact, not
least with the fantastically urgent and emotional
score from Harald Kloser”, explains Sound Designer
Max Rammler. “That being said, at the sound
recording at ARRI it was clear that the music should
not be used in a glorifying way and so the air raid
was not accompanied by overly bombastic music.
On the contrary, Director Roland Suso Richter paid
great attention to maintaining an emotional balance.

“WITH A BUDGET OF TEN
MILLION EUROS, DRESDEN IS
ONE OF THE MOST EXPENSIVE
GERMAN TELEVISION
PRODUCTIONS EVER MADE.”
�DoP HOLLY FINK behind the camera
�ON LOCATION for Dresden
VISIONARRI
It was our task and an incredible challenge to maintain that balance with our use of
sound for heroic, touching and human moments during all these action scenes. With
regard to the technical effort, we had three to four times as many tracks as is normal
for a television production. Altogether, I went to the final mix with over 80 tracks,
compiled from some 250 separate audio tracks. It really was a feature film effort. In
fact most of the feature films I have made so far weren’t as demanding as this
television production”, comments Max Rammler.
From a technical perspective the sound recording of Dresden at ARRI Sound and its
distribution in the 5.1 format will set a trend “…towards digital tracks, HDTV and
multi-channel sound. Because that, from a technological point of view, is the future”,
guarantees Rammler. “And ARRI is one of the few facilities in the world where from
a creative, as well as a technical perspective, the necessary expertise for tomorrow’s
technology is available today. We can impart the necessary know-how to the
networks; how they have to design their products in terms of dynamics and in terms
of technical development, so that they can broadcast the best possible final product.
ARRI is clearly a company which can set a technical as well as creative standard in
this area.”
For Dresden ARRI completed a version consisting of two 90-minute episodes for
German television, as well as a single 142-minute version for international
distribution and theatrical release. The master tapes for DVD authoring were also
made at ARRI. “This required quite a bit of logistics, because we had to cut from two
90-minute parts one 142 minute version – adding clips that were not part of the two
90-minute versions. That meant we had to go through colour correction again,
grading and adjusting all scenes which had not been part of the TV version. Editor
Bernd Schlegel wanted to have all available footage shot for the two-part TV miniseries
for his Avid cut of the theatre version”, says Tobias Bohlinger.
As a little advertising gimmick, ZDF decided to advertise the television film Dresden
in movie theatres, running a 30 second spot in cinemas. Even the copies for the
theatre commercials were produced at ARRI. �
Jochen Hähnel
Online: Tatjana Schröter
Colourist: Natalie Helgath
Title: Stefan Söllner
Visuals Film Damage: Jan Mehlhase
Project Co-ordination: Tobias Bohlinger
29

D-20
Combining the functionality of ARRI film cameras with the
immediacy of digital acquisition to provide a modern film-style
digital camera doesn’t stop there. Continuing development
ensures that the D-20 can offer the Cinematographer even more
options such as the experimental data mode that was shown at
NAB, Las Vegas. Once developed further this will allow raw
data from the 4:3 area of the sensor to be recorded, monitored
and subsequently provided to the post-production in a standard
2k or 3k format.
With regards to availability, Bill Lovell, ARRI’s Digital Camera
Product Manager, comments “We have been bowled over by
the huge interest in the D-20 and are currently working hard to
produce enough cameras to meet the global demand. The
cameras will be available through a variety of ARRI Rental
Group partners and associates including Clairmont Camera in
the USA and Canada, Bogard in France and NAC in Japan.”
Madonna at The Grammy Awards
The Grammy Awards have a history of memorable and often
unexpected live duets, such as that between Elton John and
Eminem in 2001, but when organisers announced that
Madonna would share the stage with animated band Gorillaz,
at the 48th annual awards in February 2006, there was
speculation as to how this would even be possible.
The show’s Producers needed to create an illusion that would
work for both the live audience and for the millions of television
viewers. A two-dimensional projected animation would not be
sufficiently dynamic, and would not allow Madonna to
convincingly interact with the cartoon band members. The
decision was made, therefore, to image Gorillaz using 3-D HD
colour projection - a broadcasting first for US television.
The idea was to seamlessly meld previously recorded footage of
Madonna performing with her actual live appearance. The prerecorded
images would make possible a virtual duet between
Gorillaz and Madonna, duping the audience into believing they
had seen Madonna appear live on stage when in fact they were
watching a life-size projection. This projection, having been
painstakingly composited with the animations, could seemingly
occupy the same three-dimensional space as Gorillaz - walking
first in front of one character and then behind another.
Madonna would leave the Gorillaz stage and reappear on an
adjoining one, this time in person, wearing the same costume
and make-up to complete the illusion, and the song.
It was vital that the projection of Madonna look as similar to
the live broadcast performance as possible, so the choice of
camera was a crucial factor. HSI London, producing the spot in
association with Passion Pictures, were keen to use the new
ARRIFLEX D-20, a film-style digital camera capable of image
capture at the highest end of High Definition. In order to reduce
motion blur and emulate the video look of broadcast cameras
that would be recording Madonna on the night itself, the
Producers requested that the D-20 record at 59.94fps at its full
1920x1080 resolution.
30
THE D-20 HAS PROGRESSED THROUGH A SERIES
OF TESTS, TRIALS AND ASSESSMENTS AND IS NOW
BEING USED ON A VARIETY OF COMMERCIAL, TV
AND FEATURE PRODUCTIONS WORLD-WIDE.
Currently such a frame rate cannot be captured on tape,
which meant that the camera would have to stream images
directly to a computer capable of capturing and storing them
in real time.
ARRI Media in London quickly sourced a DVS Clipster from
root6 of Soho and set about testing it with the D-20 during the
few days before the shoot.
The camera was being utilised in an entirely new and unproven
mode, so it was deemed sensible to shoot 35mm film side by
side with the D-20, as a precaution. ARRI technicians were
present on set alongside the 35mm crew, and the two cameras
were mounted next to each other on a dolly. The D-20 performed
exactly as required and the Clipster to which it was cabled
captured the takes, which could immediately be played back on
a Hi-Def monitor and edited into a timeline, without a hitch.
Post-production was carried out at The Mill in London, where
technicians were presented with the luxury of being able to
choose between the 35mm and digital versions. Both options
were of high resolution, but the deciding factor was a concern
that a TV Cameraman might zoom in on the projection during
the live broadcast, and the D-20 images were found to be
cleaner at high magnification. For this reason the D-20
material was chosen to create the composite. Audiences were
stunned by the result when it opened the ceremony at the
Stapleton Center in Los Angeles on February 8th and the duet
immediately became a ‘Grammy moment’. Gorillaz were
further rewarded with the ‘Best Pop Collaboration With Vocals’
award later in the evening, for their track ‘Feel Good Inc’,
featuring De La Soul.
Further info on Gorillaz: RMP on +44 208 749 7999

ARRIFLEX D-20 Goes
Commercial at ARRI Rental
Colgate
�DIGITAL & FILM side by side
In January 2006 the first two-camera production for
the D-20 serviced by ARRI Rental Munich took place
for 16 days in Prague, Czech Republic. A total of 46
commercials for Colgate toothpaste in various
European versions where produced by the Czech
production company “Filmservice Productions” for
Young & Rubicam, France.
The compatibility of the camera with the full range of
PL-Mounted lenses was a major reason for going with
the D-20. “We wanted to use 35mm lenses for a
small depth of field, which is only possible with a
large sensor and especially swing and shift lenses for
the special look of these commercials,” says DoP
Mike Lloyd from Great Britain. “Stuart (Macleod, the
director) and I were eager to give the D-20 a real-life
challenge after a very promising demo at ARRI Media
in London. We thought it to be the right choice for this
job – and we were completely satisfied.”
�A STYLISH LOFT was set up on the 8th floor of an
office-building high above the rooftops of Prague.
After the first days of shooting DoP Mike Lloyd almost
forgot about his lightmeter: “With the Astro
waveform-monitor you really have control on your
exposure and the results we saw in the grading suite
were extremely satisfying”. The material was
recorded on two SONY SRW-1 HDCAM SR
recorders and additionally on two analogue Betacam
SP for offline editing. The HD-material was graded
and downconverted at UPP in Prague, the final
online of the commercials was done in Paris.
Even though the swing and shift lenses led to some
minor differences in colour between the two cameras
it was no problem at all to match the images.
Colourist Ondrej ˇ Stibinger ˇ from UPP states: “The
levels were very well balanced thanks to the usage of
waveform monitors on set. This material looks much
more like film than any other digitally acquired
material I have seen until now.”
Kawasaki Ninja
VISIONARRI
�DoP HARALD STAUDACH framing a shot on the Kawasaki Ninja commercial
Only a week after the D-20 was first presented to
potential customers at ARRI Rental Vienna the first
production in Austria took place on March 16th
2006. “Propeller Film” produced a commercial for
Kawasaki Ninja motorbikes, which is intended to be
submitted to the Cannes Lions 2006 international
advertising festival. Roman Valent directed the story
of a young man packing his clothes for a motorbike
tour…
Producer Gregor Modrzejewski tried to push the
D-20 to its limits: “We recorded in RGB 4:4:4 on the
SONY SRW-1 field recorder to evaluate how far we
could go in grading.” Directly after the shoot, the
material was transferred to a DVS Clipster®
harddisk-system in 4:4:4 for postproduction at
Vienna-based Listo Video. A Barco HD-projector was
used to evaluate the images during transfer.
“The look of the D-20 is very clean,” says DoP Harald
Staudach, “the only thing that takes some getting used
to is the shutter running all the time.” Using a light
meter, he set the light levels to the equivalent of about
100 ASA but quickly found that a waveform monitor
is an equally valuable tool for evaluating exposure
levels with electronic cameras (and after all the D-20
is one…). “This really shows if you are exposing
correctly or are loosing details in the blacks or the
highlights. I felt completely safe regarding exposure
levels.” Producer Modrzejewski is looking forward
using the D-20 for various commercials in the near
future: “We see a lot of advantages in digital HD
acquisition especially for commercials.”
Lenses, tripods and other additional equipment were
supplied by ARRI Rental Vienna – Branch Manager
Gerhard Giesser is confident to see the D-20 very
soon in Vienna again.�
�1ST ASSISTANT
DIRECTOR Oliver
Kester, Director
Roman Valent, DoP
Harald Staudach
with the D-20
31

D-20
D-20 Captures Nike World Cup Football Commercial
32
During the approach to the World Cup 2006, Nike was busy producing a series
of TV and web commercials featuring high profile football stars to promote
their Joga Bonito campaign. Agency Wieden & Kennedy Amsterdam wanted to
appoint a young Director with a lot of experience in promos and commercials
who could give the spot a contemporary, street-like treatment and so they
turned to Marky of Production Company, ASD Lionheart.
The spot, titled Gobstopper, features Chelsea
Midfielder Joe Cole playing football with some
friends. As the game progresses the ball becomes
smaller and smaller until it finally disappears.
Marky explained his approach to the project:
“All of the spots for this campaign share a certain
quirkiness and were shot in a very realistic way,
mostly on HDV. As soon as I read the script for
Gobstopper I knew it should be treated differently
from the other spots I’d seen. The idea allowed for
the narrative to guide us, and a more dramatic
visual style to be used. I wanted to see real
determination and effort on the faces of the players
and the trickery they use to manoeuvre the ball
around the pitch.”
The location was urban and gritty, so DoP Ed
Rutherford suggested a subtle lighting plan that
would make optimum use of the physical elements
already present at the location. Marky continues:
“All of our shadows came from the different areas
of fencing and roof pillars surrounding the court. It
was as if the sun was enhanced with natural places
for shadows to fall. We cooled the temperature
slightly in order to stay away from a relaxed
sunlight feeling.”
Marky decided to shoot many of the takes on a
long 25-250mm zoom lens from a dolly, allowing
them to get in close to the action but still read the
detail as the movement was fluid. Marky explained:
“We did use wider lenses and use the camera in
hand-held mode to get some high energy shots too.
I was amazed at the cinematic depth-of-field the
D-20 gave us. This came in useful when our
football was no bigger than a squash ball.”
It was Ed who decided that the D-20 would suit this
project perfectly. Ed explains: “With the request
from the agency to shoot HD, I wanted to use
lenses I was familiar with and with the D-20 and its
PL mount it meant that all the lenses I intended to
use would be compatible. Also, I wanted to use the
camera in the hand-held mode and I knew that the
ergonomics and the light weight of the camera
would lend itself perfectly on the pitch amongst the
players. I had heard a lot about the camera and
was keen to put it through its paces.”
Ed continued, “The D-20 didn’t disappoint, it was
nothing short of amazing. Halfway through the day
I realised that I hadn’t looked once at the monitor
but had been very comfortable looking through the
eyepiece. With the safe area it meant that I could
see the edges beyond the frame like boom mikes
and lighting stands. The project involved a high
contrast with a wide dynamic range and the D-20
gave us much more detail in the highlights than on
HD cameras.”
Ed concluded: “I thoroughly enjoyed using the
D-20, the set-up took next to no time and the menu
system couldn’t be more straight forward to use, its
very apparent that the camera system has been
totally designed with the cinematographer in mind
and I look forward to using it again very soon!” �
Andreas Berkl
Mark Hope-Jones
Judith Petty
�DOP ED RUTHERFORD
on location

MFS started out as a camera and grip rental facility
in Cape Town that was fully supported by
ARRI Media in London. As the company’s reputation
grew, so did the demand to establish other branches
in the country. It became necessary to offer clients a
one-stop service, providing cameras, grip, lighting
and Kodak film stock under one roof. ARRI Lighting
Rental in London supported the initial offering of
lighting, with MFS later purchasing equipment of
their own. MFS now offers the most up-to-date
ARRI equipment, as well as complementing
equipment from leading specialized cinematographic
suppliers from around the world.
Today Media Film Service has the largest footprint of
service centres in South Africa, with branches in
Johannesburg, Cape Town and Durban, as well as
representation in Namibia.
“We can offer our clients the best equipment and
unsurpassed service, anywhere in the country. We
can deploy our resources from one, or all of our
bases simultaneously to ensure a seamless supply
and delivery of services. ARRI and Media Film
Service believes in the South African film industry
and are continuously investing in state-of-the-art
equipment and development opportunities in the
Southern African Region,” continues Jannie.
VISIONARRI
MEDIA FILM SERVICE
South Africa
Since its establishment, only six years ago, Media Film Service SA (MFS) has
acquired a firm footing in a very competitive market, emerging as one of Africa’s
leading equipment rental companies. “We are committed to continually raising
the bar on technology and service to ensure a world-class equipment rental
experience.” says Jannie van Wyk, founder and CEO of Media Film Service.
�DELIVERING film stock to the Angolan border for the feature
The Trail
�ARRIFLEX 235 overlooking Table Bay, Cape Town
�
“Media Film Service owes its success to three
factors, first, the highly motivated and committed
MFS team, second, to ARRI Media and ARRI for their
international support, and thirdly, to the wonderfully
loyal and supportive clients and friends of MFS.”
Building the Team
“This vastly exciting journey started out with three
people, some camping chairs, a personal computer,
loads of goodwill and of course the support from
ARRI Media. Six years on there are seventy team
players, warehouses full of gear and huge
commitments,” explains Jannie.�
33

MEDIA FILM SERVICE
“In our industry, we all come from different backgrounds
with very different skills and valuable qualities. It is these
skills that qualify us within our industry, but sometimes
being the best at your job can also mean that you did not
necessarily obtain a formal certificate of competency or
qualification testifying to your ability. Although ‘only being
as good as your last job’ is one of the great beauties of the
film industry, it can also be a setback when establishing a
common playing field for a team of technicians,
administration staff, management and accounting people.”
For this reason training was become an integral part of the
company. While looking at every aspect of the company,
MFS placed training at the centre, knowing that through
training staff could be empowered to shape their own futures
by being part of the process of establishing goals, objectives
and a vision. “People are the heartbeat of any company,
and are what make Media Film Service so successful.” says
Neil du Toit, Managing Director of Media Film Service.
�ARRI MASTER PRIME, Highveld
�SUPERTECHNO camera crane, Noordhoek beach
A MOBILE silent generator truck, Namibia
� ��
34
The Industry in South Africa
The South African film industry is a highly competitive
market on every level, one where excellent performance is
essential to survival. This may be the underlying success of
South Africa as a film making country.
South Africa is seeing a return of the commercials market
and an even larger influx of feature film productions. “The
foreign market has identified South Africa as a country that
took quick remedial action to realign its costs and value
offering to the world’s filmmakers. This has drawn them
back from many other emerging locations, despite a weak
US Dollar. SA has proven to be an excellent value for
money location as opposed to a cheap one. Quality
equipment, committed crews, affordable talent, good hotels
and food, a safe working environment, excellent production
value and diverse locations all add up to make great
production sense!” asserts Johan Haupt, Finance Director of
Media Film Service. “By strategically positioning and
continually strengthening our inventories and operations
across Southern Africa, we are best suited for the majority
of productions.”
“We pride ourselves in the fact that our clients feel that they
are part of our team and are contributing to the bigger
picture in the development of people and working ethos
within the film industry in South Africa. They feel safe in
entrusting us with their projects and knowing that we will
do whatever it takes to deliver on time with the highest level
of expertise and service, and of course within budget.”
concludes Jannie.
“Doing it better” is the challenge that is never far from our
minds at Media Film Service. Come over to South Africa…
we look forward to contributing to your reason for many
happy returns! �
Jannie van Wyk

The 2005/2006 commercial season has been
especially good for Cape Town but as the
commercial industry tapered off in April, there
were a number of feature films either in
production or starting production and shooting
into the winter. The mixture of feature films
and commercials at this time of the year
indicate that the market is experiencing less of
a typical dead winter season and will see
more of an even year-round production cycle.
In 2006, MFS has serviced and are looking forward to
servicing some wonderfully exciting and challenging projects,
including:
ER - a number of episodes of ER (Sudan), set in refugee
camps/hospitals in Darfur, were shot in Cape Town and the
Kalahari areas.
Directors: Chris Chulack, Richard Thorpe, Skipp Sudduth
DoP: Michael Brierley SASC
Equipment supplied: lighting and grip
10 000 BC - a Warner Brothers project that has attracted a
lot of attention and is reported to be the biggest movie ever
about to shoot on South African soil. This project has received
support from the whole ARRI Group and some of the service
will even be supplied in New Zealand by ARRI Australia, the
newest of the ARRI Group companies.
Director: Roland Emmerich, DoP: Ueli Steiger
Equipment supplied: camera and grip
Goodbye Bafana - a local story that plays out around
ex-President Nelson Mandela’s prison guard.
Director: Bille August, DoP: Robert Fraisse.
Equipment supplied: camera, lighting and grip
Primeval - a technically challenging production, being filmed
in a very remote location of South Africa, about a crocodile
called Gustave.
Director: Michael Katel, DoP: Edward Pei
Equipment supplied: lighting, grip and SuperTechno 30 crane
Katrina - shot in Cape Town, this documentary drama is
about the victims of hurricane Katrina.
Director: Jonathan Den, DoP: Jonathan Partridge
Equipment supplied: lighting and grip
White Lion - told from the lion’s perspective, the story is
about a white lion cub and the problems it faces growing up
in a pride as a white lion.
Director: Ben Horowit, DoP: Michael Swan
Equipment supplied: camera, lighting and grip
VISIONARRI
“The first movie I shot in South Africa was
Hotel Rwanda in 2004 in Johannesburg. I
had a great crew there. I have just started
the Bille August movie Goodbye Bafana in
Cape Town and I have a great crew as well,
very professional and very competent.
Because this movie is a co-production
involving six different countries we have met
many problems and the movie had to be
delayed several times. I was introduced to
Media Film Service and after a short meeting
I decided to hire them for camera and
lighting equipment. We didn’t know if we
were going to shoot until the last minute so
we were constantly changing dates and type
of equipment. But in spite of that, people
from Media kept smiling and did their best to
provide me the best possible equipment
suitable for our budget. Everyday I felt
strongly supported by Jannie and his team.”
DoP Robert Fraisse
“I have had the pleasure of using Media Film
Service in South Africa many times over the
years and have only good things to say
about their service and attention to detail. I
have shot many features, including the Oscar
nominated Yesterday. Media have supplied
gear on nine of the twelve films I have shot.
I once needed a hand crank camera for a
low budget movie I was shooting, Jannie
and his team had it designed and modified
and in the country within four days of my
requesting it. Now that’s not just good
service, that’s great service.
Their lighting and rental catalogue is
constantly being upgraded and their gear is
always immaculately maintained. I know
when I order Media gear, it’s going to be
there and it’s going to work.”
DoP Michael Brierley SASC
“Your people, facilities and resources are first
class. You have enough back-up via ARRI to
make a large project such as 10,000 BC
possible for us in the most professional way.
At the same time you have custom tailored all
of your equipment to our specific requests,
which was no easy task. I would like to add
again, that it is the people behind the
operation that makes shooting such a
demanding film as ours possible.”
DoP Ueli Steiger & Camera Assistant Joseph Sanchez
35

The Master
PERFORMANCE WITH POWER
Technological progress in the fields of lens design, optical glass materials,
anti-reflection coating, optical metrology, precision machining and surface
hardening have enabled the ARRI Rental Group and Carl Zeiss to bring you the
Master Zoom 16.5 – 110. A high performance T2.6 zoom lens that provides
outstanding optical image quality.
Exclusively available through the ARRI Rental Group,
the Master Zoom covers the whole Super 35 frame
over the entire zoom range, while displaying very
little breathing. This is because the same optical
components used to create the Master Primes have
also been utilized in the Master Zoom, including Dual
Floating Elements, special high precision aspherical
lens elements and exotic glass materials. An
important issue in zoom lens design is the correction
of optical aberrations (such as chromatic aberration
(colour fringes), and in particular, field curvature)
across the whole operating range of the lens; this is
considerably harder in a zoom lens than a fixed lens,
which needs only to correct the aberrations for one
36
focal length. The Master Zoom forms a high contrast,
high-resolution image with almost no chromatic
aberration. The aspherical lens elements help in
reducing spherical aberration but more importantly
keep the image geometry free of distortions, so
straight lines stay straight, from infinity to close focus.
Another issue with many zoom lenses is that as you
zoom in, the picture can get slightly darker - a
condition referred to as ‘lens ramping’. The greater
the zoom ratio the more difficult this condition is to
prevent, but with the Master Zoom there is no lens
ramping as its design ensures that the aperture holds
effectively while zooming.

ZOOM
The new Zeiss T* XP multi-layer, anti-reflection coating reduces
veiling glare and internal reflections, while creating a pleasing
colour balance. Compared to conventional coatings, the T* XP
coating has better transmission with a more uniform
performance across the lens, from the optical centre to the
edges. The Master Zoom’s design also provides superior
damping of stray light and flare through internal light traps
and strategically painted lens rims. The various light traps
incorporated into the mechanical design keep unwanted light
from bouncing around inside the lens and several types of
proprietary black paints with different refractive properties
have been used to blacken lens rims for maximum absorbing
effect. All of these factors result in higher contrast with deeper,
richer blacks, while a round iris opening creates natural
looking out-of-focus highlights.
THE MASTER ZOOM FORMS
A HIGH CONTRAST, HIGH-
RESOLUTION IMAGE WITH
ALMOST NO CHROMATIC
ABERRATION.
The Master Zoom has been Super Colour Matched to fit
perfectly with all other modern ARRI Zeiss lenses, allowing
shots to be easily intercut. The design of the focus, zoom and
iris scales have also been matched to other ARRI Zeiss lenses
for familiar handling and, as with the Master Primes, the focus
ring is reversible for easy switching between metre and feet
scales. All mechanical parts have been engineered for an
extremely smooth feel and the Master Zoom’s unique active
temperature compensation ability means that focus and image
quality can be maintained over a wide range of temperatures.
Superior performance and ease of operation is exactly what
you expect from ARRI Zeiss lenses, the new Master Zoom lens
offers great optical and mechanical performance and is
available exclusively from the ARRI Rental Group. �
MASTER ZOOM FACTS
VISIONARRI
Covers full ANSI Super 35 image
area over the entire zoom range
Focal range of 16.5 to 110mm, aperture T2.6
Almost no geometric distortion, even up close
Virtually no breathing
Zeiss T* XP multi-layer, anti-reflection lens
coating means minimal veiling glare
Holds effective aperture while zooming so no
‘lens ramping’
Provides superior damping of stray light and flare
A circular shaped aperture creates natural
looking out-of-focus highlights
Active temperature compensation holds focus and
image quality over a wide range of temperatures
Built-in Lens Data System (LDS)
Super Colour Matched
Reversible focus ring for easy switching
between metre and feet scales
What is the T* XP Anti-reflection Coating?
Anti-reflection coatings ensure that the maximum
amount of light reaches the film instead of being
reflected away from the lens surfaces or, worse,
bouncing around inside the lens. They are also an
important contributor to correct colour balance.
The new multi-layer T* XP (Extended Performance)
anti-reflection coating developed by Zeiss ensures
maximum light transmission in a wide spectrum of
wavelengths. The coating, which is also used for the
Master Primes and other ARRI Zeiss lenses, has been
optimized with respect to the spectral sensitivity of
motion picture film and the sensitivity of the human
eye. In addition, a sophisticated new application
process assures uniform performance across the
whole lens surface. Compared to conventional multilayer
coatings, the T* XP coating has up to five times
better transmission at the edges.
The results are higher contrast, deeper blacks and a
great reduction of false light effects such as internal
reflections, veiling glare, flare and narcissism.
37

ARRI STOPS
FORMULA ONE
IN ITS TRACKS
� ARRIFLEX 235
and UP8R mounted
to the front of the
F1 TF106 racing car
R.TV Film and Television from Böblingen produced exclusive
footage for the start of the 2006 Formula One racing season.
Tasked by Toyota to produce action-packed, dynamic
material that captured the high-tech world of Formula
One, R.TV used Toyota’s TF106 racing car as the
focus of the production. A giant shooting operation
had to be undertaken in order to capture the F1 car,
which reached a speed of around 211mph, racing
down the test tracks of the Paul Ricard circuit in Le
Castellet, France. The multi-camera shoot included ten
35mm units, a helicopter, a crane and a speed car,
as well as many other tricks of the trade. Claus
Richter, of the ARRI Camera Support Team,
accompanied the huge camera package that
included ARRIFLEX 235 and 435 Xtreme cameras, as
well as the Ultra Prime 8R lens, which was used to
capture dynamic and unusual angles from a camera
mounted to the F1 car. Due to the speed that the
TF106 racing car was traveling at every set-up had
to be perfect, the timing and course of events had to
be worked out with great detail. During shooting
even communication was a challenge with the noise
of the engines roaring. As if all this wasn’t enough of
a task for Director Tobias Heppermann and Producer
Oliver Bauss, they set out to generate never-beforeseen
material with the help of special effects, and to
produce two world premieres – clearly a job for
ARRI Commerical!
38
Rico Reitz, Art Director & Inferno Artist, attended the
shoot as the supervisor for the planned special effects
and was fascinated by what took place at the circuit
in Le Castellet, remarking: “It was incredibly loud!”
The goal for the entire team was the optimal
realization of two time-slice sequences. On set he
met, among others, Dayton Taylor (Matrix-Effect).
Preparation for the effects took eight hours of
rigging per motif, as it was very important to ensure
that all fifty of the Canon analogue cameras were
precisely aligned and that simultaneous shutter
release was achieved. The Canon cameras were
bracketed by an ARRIFLEX 435 at the beginning and
an ARRIFLEX 235 at the end of the shot.
Back in Munich the images were scanned with the
ARRISCAN at a resolution of 2K. Individual pictures
were then stabilized on the Inferno & Flame and put
together into a sequence, creating the required timeslice
effect.
�DAYTON TAYLOR
(Matrix-Effect)
�THE CANON CAMERAS
bracketed by an
ARRIFLEX 435 & 235
�LOOKING through
the UP8R

“If the cameras had not been precisely aligned and/or the shutter
release had not occurred simultaneously, postproduction would have
been extended by several days,” said Mikel Tischner, Inferno Artist.
“For that reason, the pictures shot are generally viewed on set in a
digital format to check the alignment and simultaneous shutter release.”
The selected motifs for the time-slices show a pit-stop and, from an
additional set-up, the TF106 driving through a puddle, which is
particularly impressive because of drops of water that appear to be
suspended in the air. The car freezes in front of your eyes and as
quickly as it froze, it comes to life again and races off at an
incredible speed.
Director Tobias Hepeprmann and Producer Oliver Bauss were relieved
when the shoot was in the can: “We are always in search of the
unusual and have long had the desire to realise this complicated timeslice
in the context of Formula One. With Toyota we had the right
team and ARRI was able to fulfill our wishes one hundred percent.
The end result is perfect!.” �
Julia Eberl
Product: Formula One “Toyota”
Production: R.TV Film and Television, Böblingen
Director: Tobias Heppermann
Exec. Producer: Oliver Baus
Postproduction: ARRI Film & TV / Commercial
PP-Producer: Philipp Bartel
Telecine: Janna Sälzer, Bertl Grabmayr
Inferno/Flame Artists: Rico Reitz, Mikel Tischner
VISIONARRI
“WE ARE
ALWAYS IN
SEARCH OF
THE UNUSUAL
AND HAVE
LONG HAD
THE DESIRE
TO REALISE
THIS
COMPLICATED
TIME-SLICE IN
THE CONTEXT
OF FORMULA
ONE.”
39

40
MOMENTS
IN TIME
A RETROSPECTIVE OF
ARRIFLEX CAMERAS AT
WORK ON MILESTONE
PRODUCTIONS

Das Boot and the Birth of the IIIC
VISIONARRI
A year after its release in Germany, Das Boot premiered in the
United States at the 1982 Filmex film festival in Los Angeles.
The lights went down, the curtains drew, and a title card
appeared on the screen: “40,000 German sailors served on
U-boats during World War II. 30,000 never returned.” The
audience, accustomed to war films that almost universally
presented stories from an Allied standpoint, broke into
spontaneous applause. At the back of the auditorium, Director
Wolfgang Peterson’s heart sank. He had spent over two years
making this film about the cramped and dangerous lives of
men aboard an Atlantic U-boat in 1941, with rigorous
attention to detail. In Germany it had been criticised by the
liberal left, of which he was a member, for not expressing the
guilt that had permeated the country’s society for decades.
Now it seemed the film might be punished in America simply
for telling a story about the hardships of war from a fresh
perspective. Peterson sat with the audience throughout the
two and a half hour screening and wondered if, even after
40 years, it was still too soon to have made such a film. His
answer came as the end credits started to roll. Das Boot
received a standing ovation. �
41

�DOP JOST VACANO in the submarine set
with his purpose-built gyro-rig and the
prototype IIIC. First Assitant Peter Maiwald
holds the remote focus unit.
Based on the best-selling novel by Lothar G. Buchheim, the film
had actually been in development as an American project
from as early as 1976. Don Siegel and John Sturges were
lined up as possible Directors, while Paul Newman and Robert
Redford were considered for the role of the U-boat captain.
Sturges spent a great deal of time preparing for the shoot in
Munich, where construction of the submarine replicas and
miniatures got underway. The project, however, was impeded
and eventually shut down by creative differences between the
production team and Buchheim, who had right of veto over
the screenplay.
In 1979, a Producer named Günter Rohrbach took over
Bavaria Film Studios, where the Americans had intended to
shoot. It occurred to him that since so much money had
already been spent on the sets and miniatures, which were
there for the taking, it might be worth resurrecting the film as
an all-German production. The budget would still be greater
than that of any previous German film, but he calculated that
by using the footage to create both an international feature
and a longer TV series, he could double his markets and offset
the considerable cost.
Jost Vacano, a local DoP with 15 years’ experience shooting
German TV and features, was hired to photograph the film.
He had never met Wolfgang Peterson before, though they had
heard of each other and quickly formed a strong relationship.
“I communicated with him very well from the beginning”, says
Vacano. They shared a determination that absolute realism
should be the basic credo underlying the endeavour. Peterson
agreed in principle with Vacano’s view that it was vital to film
within the actual confines of the submarine interior set, without
removing walls or ceilings. They had both seen some of the
many ‘submarine movies’ that came out of America throughout
the 1950s and wanted to escape the staged aesthetic of those
42
“I HAD VERY STRONG FEELINGS ABOUT
THE VISUALS OF THIS FILM AND IT
WAS NOT EASY IN THE BEGINNING TO
CONVINCE THE DIRECTOR AND THE
PRODUCERS THAT I WAS RIGHT.”
films. Vacano ran into difficulty, however, when he
expressed a belief that hand-held filming would be
the best option: “I had very strong feelings about the
visuals of this film and it was not easy in the
beginning to convince the Director and the Producers
that I was right.”
He was also keen to avoid film lighting, preferring
the idea of placing high-wattage practical lamps in
locations true to original submarine specifications:
“Normally you would bring light to the actors, but I
wanted to light the boat in a certain manner and then
not change it. That way, the actors had to move to
the light, which meant action centred around work
stations in a realistic way.” Although Vacano
acquired a few precious rolls of Fuji’s new 250ASA
stock, making Das Boot the first European film to use
it, he had to make do with 100ASA - the fastest
colour negative then available - for the interiors,
which meant slightly underexposing even at T2.8.

The studio was nervous about Vacano’s idea of
shooting the piece more like a documentary than a
major feature. Many involved with the project felt that
a film bound for world markets should emulate the
Hollywood style of filmmaking. Vacano felt precisely
the opposite: “My response was – let’s do it the best
way we can do it, not the way it might be done in
Hollywood. We had the chance to approach a big
feature film in a new and unexpected way.”
Peterson was won over and Vacano started building
a gyroscopically stabilized camera rig that he could
hold in front of his crouched body as he ran through
the set. Though Steadicam was available at that time,
it was too cumbersome to get through the tiny circular
doors that separated compartments within the
submarine. Space was so tight that he had to wear a
crash helmet and body armour to prevent serious
injury on the many occasions when he fell or struck
an obstacle. The rig softened his jarring running
motion without eliminating a sense of human body
movement that he believed would help pull audiences
into the story.
�DIRECTOR WOLFGANG PETERSON
directs from the cherry picker. Behind him is
the full-scale submarine replica, which was
borrowed mid-shoot by Steven Spielberg for
Raiders Of The Lost Ark.
“MY RESPONSE WAS –
LET’S DO IT THE BEST
WAY WE CAN DO IT, NOT
THE WAY IT MIGHT BE
DONE IN HOLLYWOOD.”
Being double-stabilised on the optical axis, the rig
also provided a horizon reference that the
windowless submarine lacked, for scenes during
which the set was pitched about on a huge hydraulic
platform and the actors could barely keep their feet.
Vacano additionally developed his own remote focus
unit with the help of Alfred Chrosziel. “There have
been times in my career”, he says, “when it has felt
like I’m as much an engineer as a photographer.”
Vacano initially used an ARRI IIC camera on his
hand-held rig, but ran into difficulty because the rigid
viewfinder made low-angle work almost impossible.
He lived in Munich and had a good relationship with
ARRI, so asked engineers at the company if they
might build something that could help him. This
conversation brought about the birth of the IIIC, a
single-mount, pivoting-viewfinder camera that
represented the last evolutionary step of a body
design which began life in 1946 as the ARRI II.
Vacano was delighted: “I was always very close with
the ARRI engineers”, he says. “We would discuss
future developments and I would tell them what I
would like to see or what particular features might
help me. They were always very willing to help and
for Das Boot they built a completely new camera for
me, which was fantastic.”
The prototype IIIC was subsequently used to shoot
most of the film. Camera noise was not an issue
because the nerve-shattering sounds made by the
steel-welded submarine set and its hydraulic platform
necessitated the post-dubbing of all dialogue. An
ARRI III was also utilised, and was adapted to accept
1000ft 35BL coaxial magazines in underwater
housings for model shots out at sea.
Das Boot was a box-office smash and a towering
artistic success. It became the most successful foreign
film released in the US up to that time and its record
of six Oscar nominations has yet to be matched by a
German film. Jost Vacano describes the shoot as
physically the toughest of his career, but remembers
having no doubt at all that they were creating
something special. “You know after this film I worked
in the United States for about fifteen years and shot
many big mainstream films there, but when I look
back, Das Boot is still one of my favourite pieces.
Maybe the best one of all.” �
Mark Hope-Jones
VISIONARRI
43

�TIBOR 2006
�TIBOR 1957
44
Tibor
SANDS
A Life In Focus
In March 2006, Tibor Sands began
semi-retirement, following fifteen years of
service at ARRI CSC NY, formally Camera
Service Center. He became beloved by the New
York production community during his time as
a Rental Agent, having previously been one of
the city’s most respected camera technicians.
Those however, are only chapters in an
extraordinary story, one which is far from over.
Tibor Munkacsi was born in Budapest, Hungary in December
1925, and joined a family of ten half-brothers and sisters.
In 1944 he was imprisoned in a concentration camp, to be
liberated nine months later by the American 3rd Army.
Following six months in a refugee hostel, Tibor was given a
choice of destinations and he chose England as a stepping
stone to America, where his three surviving step brothers now
lived. His interest in photography eventually landed him a job
at Alfa Laboratories, at 72 Wardour Street, Soho, London as
an apprentice.

In 1950, Tibor was finally cleared to travel to
America and on June 14th 1950 he landed in
New York on the liner Queen Elizabeth, ironically
docking yards from the current location of ARRI
CSC NY (a colleague recently commented that he
hadn’t come far in fifty-five years). He initially
worked as an assistant to his step brother Martin,
by now a famous stills photographer, before he
moved on to work with Robert Monroe having
acquired the surname Murray out of the phone book
in frustration at people’s struggle with Munkacsi.
During eight years working with Monroe in fashion
and advertising, Tibor became aware of the
burgeoning motion picture industry via his other
step brother Muki who worked as an on-set stills
photographer. He left Robert Monroe to do the
same, working on the locations of many of the
major productions shooting in the New York area
in the early 1960’s, amongst them the
pre-production stills for West Side Story.
Whilst doing so Tibor learnt of a shortage of
motion picture camera assistants and so he joined
the union and in 1961 began another phase of an
extraordinary life.
Initially the work available was a mix of
commercials, newsreels and documentaries, and
Tibor would often find himself working at M.P.O.
stages, were he would sometimes bump into a
fellow assistant, Gordon Willis. A friendship
developed which culminated in Gordon asking
Tibor to join him on his first feature film as a DP,
End of the Road. They worked together on
countless commercials and nine feature films,
including Klute and The Godfather.
The team was completed by another assistant from
their M.P.O. days, Michael Chapman, who joined
as their Operator. Tibor therefore witnessed at
first-hand many of the creative challenges that
surrounded these ground-breaking productions that
left a lasting impact on Cinematography as we
know it today.
Now established as one of New York’s leading
camera technicians, Tibor was increasingly in a
position to choose his projects. In between features,
he was working regularly on television commercials
and documentaries. Both provided a contrast to
major studio productions, but in particular it was on
documentaries that he truly enjoyed a freedom and
team spirit, working closely with inspirational
directors and cameramen such as Ross Lowell. The
two worked together for over fifteen years, and
Tibor credits Ross with teaching him many of the
lessons in set etiquette which were to stand him in
good stead of the years to come. Tibor meanwhile
witnessed the evolution of the successful Lowell Light
range, born out of their many days on location
searching for the perfect lighting source.
Through Ross Lowell, Tibor met “Gentleman”
Jack Horton, a busy commercials DP, and another
significant influence upon him along with the
legendary Joe Pytka. Joe was directing and lighting
television commercials at Rick Levine Productions,
but soon struck out on his own. A large man, both
in character and build, he made quite a contrast to
his favourite East Coast camera assistant. One
episode sums up their occasionally turbulent
relationship. Frustrated by an incident on set, Joe
turned on Tibor and raged “I pay you all this
money and you know nothing”, to which Tibor
calmly replied “Joe, I agree. I could teach an idiot
what I do in ten minutes. You, it would take an
hour”. Joe was so delighted by this response that
he literally swept Tibor off his feet and carried him
over to the nearby agency staff and their clients to
repeat the exchange.
Meanwhile there had been another significant
development in Tibor’s life. In 1974, whilst cycling
in Central Park he fell from his bicycle and cut his
legs. An angel of mercy came to his rescue, in the
form of Sara, and after sharing an ice cream in the
Park they have been together for over thirty years.
In due course Tibor’s work opportunities began to
slow down as his regular cameramen moved away
or retired. Throughout his career in New York, his
rental company of choice had always been
Camera Service Center (now known as ARRI CSC).
He was therefore delighted when an opportunity
arose for him to join the company full time, initially
assisting on the camera floor and subsequently
joining Charlie Tammaro and his team as a camera
rental agent.
Looking back on his experiences both as an
employee and as a client of a rental company,
Tibor remains passionate that the key to the success
of ARRI CSC, as with any great facility house, is
training. He reflects on the quality of advice and
support that he has enjoyed over the years and he
feels strongly this is what makes ARRI CSC a truly
extraordinary organization. He is proud to have
contributed to the training of the many graduates of
what he refers to as the CSC University, an alumni
that includes many of the leading technicians in
the industry.
And ARRI CSC is fortunate that he will continue
to work part time in order to maintain that
noble tradition.
Meanwhile Tibor himself is going back to school,
returning to his roots and picking up a stills camera
again. Only this time it will be a digital system and
he wants to learn how to edit his work on a laptop.
And the change of surname from Murray to Sands?
Upon becoming a naturalized U.S. citizen, Tibor
had the option to choose a new name, and when
he once more opened that trusty phone book, that’s
where his finger fell… �
Simon Broad
�TIBOR on location in
Lileth 1963
�TIBOR on focus on the
feature The Front 1976
� ��
VISIONARRI
�TIBOR underwater
filming 1963
45

PRODUCT
UPDATE
46
ARRI Zeiss Lightweight Zoom (LWZ-1)
Inspired by the ARRIFLEX 235 and ARRICAM Lite, the ARRI Zeiss
Lightweight Zoom (LWZ-1) 15.5 - 45 is the ideal companion for
hand-held, Steadicam and remote work. Sophisticated design and
manufacturing techniques, including the production of high precision,
large diameter aspherical elements and the use of exotic glass materials
ensures the highest optical performance despite its compact build and
light weight.
The T2.6 zoom fits perfectly with all modern ARRI Zeiss lenses, as it is
Super Colour Matched and shows similar high contrast, high resolution
image quality and characteristics. Special light absorption techniques
and the Zeiss T* XP multi-layer, anti-reflection coating keep veiling glare
to a minimum, while the aspherical lens elements reduce spherical
aberration and maintain image geometry – so straight lines stay straight,
even at close focus.
FACTS
Compact, lightweight zoom covering the full ANSI Super
35 image area through the complete zoom range
Focal range of 15.5 to 45mm, aperture T2.6
Weighs approximately 2kg (4.4lbs)
Zeiss T* XP multi-layer, anti-reflection lens coating ensures
flare resistance for deeper, richer blacks
Superior geometry, even up close
Super Colour Matched
Ideal for the ARRIFLEX 235 & ARRICAM Lite

ARRI MaxMover
A new automated stirrup that offers remote pan, tilt and
focus for a wide range of lighting fixtures. Quick and easy
to set up, the MaxMover has a universal adapter plate that
is easily adjustable to accommodate varying size fixtures,
from 6kW – 24kW ARRI lampheads. Operation is simple
with an easy to use analogue or DMX (wired or wireless)
control, so there is no need for a specialist operator.
FACTS
Automated stirrup with universal adaptor plate
Remote control for pan, tilt and focus
Accommodates fixtures from 6kW – 24kW
80kg (176lbs) weight load
ARRIMAX 18 / 12
FACTS
What fits the Universal Adapter Plate?
50% brighter than a 12kW PAR
VISIONARRI
ARRI’s newest lighting fixture, the powerful ARRIMAX 18 / 12,
provides an optimum choice for productions requiring maximum
light output. Combining the variable beam spread of a Fresnel
with the light output of a PAR, the ARRIMAX uses a unique new
reflector concept for beam control, which eliminates the need for
spread lenses. The ARRIMAX’s optical system provides continuous
focus from 15° - 50°, while an easily interchangeable spot
reflector can provide focus from 8° - 15°, allowing the immense
power of the ARRIMAX to be concentrated into an even smaller
area. Due to its unique reflector configuration, correction filters will
last much longer and won’t burn out to the same extent as on
current lens systems.
15° - 50° continuous beam spread, 8° - 15° with spot reflector
Lensless design
ARRIMAX 18/12
ARRISUN 120
ARRI Daylight 18/12 Plus ARRI X 60
ARRI Compact 12000 ARRI T 24
ARRI Compact 6000 ARRI T 12
ARRI Compact Theatre ARRI T 12 Theatre
The universal adapter plate is also easily attachable to other
fixtures and accommodates a minimum width of 540mm, up to
a maximum width of 880mm.
Arc-like shadow quality
Superior lamp support
Uses 18kW SE or 12kW SE lamps
Can be used with the ARRI MaxMover automated stirrup
47

News from around the world
48
ARRI CSC Contributes to IDA Dream Package and
Frederick Douglass Documentary
LOS ANGELES, CA, Kelly and Tammy Rundle of Fourth
Wall Films have won the International Documentary
Association’s (IDA) annual Documentary Dream Package,
an award sponsored in part by ARRI CSC that includes a
Super 16 mm camera rental. The Rundles plan to use the
prize to begin production on their film, The Storm,
The Whirlwind, The Earthquake: Frederick Douglass.
To help filmmakers make their visions a reality, a complete
package was put together that would enable production of
a documentary from start to finish. Raffle tickets were sold,
with proceeds going to the IDA. The prize includes four
weeks rental of a Super 16 mm camera package
(including batteries, filters, tripod, zoom lens and
magazines) from ARRI CSC, 10,000 feet of Kodak Motion
Picture 16 mm film, processing at FotoKem Film & Video,
a copy of Production Studio software courtesy of Adobe
Systems, Inc., and a 12-hour telecine transfer from Laser
Pacific. The $30,000 package is raffled off yearly as part
of the IDA Awards.
“We are very pleased to be the recipients of these
valuable production resources,” says producer-writerdirector
Kelly Rundle. “The IDA is the preeminent
professional association for documentary filmmakers.
We are eager to use this award to begin an exciting and
important historical project.”
With many documentaries opting to go the digital video
route, Kelly feels The Storm, The Whirlwind, The
Earthquake: Frederick Douglass would benefit from
� �
shooting on film stock. He says, “As good as digital
technology is, film is still the only medium to provide
both a rich look of quality and a stable archival
medium. Being able to say a project was ‘shot-onfilm’
raises its perceived value, stature and flexibility
in the marketplace. It’s a plus when negotiating with
distributors. Originating on film also provides the
greatest degree of flexibility in post.”
Frederick Douglass is best known as a former slaveturned
abolitionist and women’s suffrage supporter.
He taught himself to read and was a widely
respected, highly effective orator as well as an
advocate for constitutional amendments that
guaranteed voting rights and civil liberties for
blacks. As an advisor to Abraham Lincoln, Douglass
urged the President to issue an emancipation
proclamation, which Lincoln did following the Union
victory at the bloody Battle of Antietam in 1862.
The Storm, The Whirlwind, The Earthquake:
Frederick Douglass is a documentary based on
Douglass’ books and speeches. Douglass will be
“interviewed” by a newspaper reporter in 1870.
This material will be intercut with archival
photographs and documents, and excerpts from
Douglass’ speeches. To obtain a period look,
Phoenix, Ariz.- based cinematographer Les Bradley
of Morr Film & Video will light by utilizing and
mimicking natural light and the film will be shot in
historical locations.
Actor Mark Winn has been cast to play Douglass
onscreen. Winn previously worked for Steven
Spielberg and James Cameron, and has been
�KELLY AND TAMMY RUNDLE,
of Fourth Wall Films
�FREDERICK DOUGLASS

featured in dramas and documentaries on CBS,
ABC, and the Discovery Channel in addition to his
numerous live theatre performances.
The Rundles are the owners of Fourth Wall Films,
an independent film and video production company,
and the producers of the critically acclaimed
documentary feature film Villisca: Living with a
Mystery (VilliscaMovie.com). Villisca spent
14-months in theatres and was released on DVD in
October 2005. They are currently in production on
Lost Nation: The Ioway, a documentary exploring
Iowa’s original Native American inhabitants, the
gradual loss of their ancestral lands, and the
dissolution of their unique culture.
This is the first time New York-based rental house
ARRI CSC has contributed to the IDA Documentary
Dream Package. “Film is ideal for this documentary
project because we are utilizing a reenactment
approach that can be very carefully planned. Our
first historical documentary feature Villisca: Living
with a Mystery was also shot on film using ARRIFLEX
cameras, and the image quality allowed it to enjoy
a 49-city theatrical release. With sufficient budget
and expertise, film is still an excellent acquisition
medium for documentary filmmakers,” says Kelly.
The IDA was founded in 1982 as a nonprofit
membership organisation dedicated to supporting
the efforts of nonfiction film and video makers
throughout the United States and the world;
promoting the documentary form; and expanding
opportunities for the production, distribution, and
exhibition of documentary. The IDA is committed to
continuing its efforts to increase public appreciation
and demand for documentary films, videos, and
television programs across all ethnic, political and
socioeconomic boundaries.
ARRIFLEX D-20 Hits
West Coast USA
ARRI CSC, representing the ARRI Rental Group in
the Unites States and operating in New York and
Florida, have entered into an agreement that will
see Clairmont Camera provide the ARRIFLEX D-20
for hire on the West Coast.
The D-20 film-style digital camera is available through
the ARRI Rental Group and selected partners.
Clairmont Camera, with an extensive track record on
the West Coast and in Canada, not only has a
comprehensive ARRI film camera inventory but in
addition a well established digital imaging
department, headed by Mike Condon. The ARRIFLEX
D-20 will be making its West Coast debut in June
2006 when Clairmont Camera will be offering the
camera from their Los Angeles branch.
Having already successfully shared the introduction
of the NAC K4 “Tornado” high-speed digital camera
into the United States with Clairmont Camera, the
management of ARRI CSC felt that continuing the
relationship with the initial ARRIFLEX D-20 systems in
North America was a natural progression.
For further information please contact the following:
Clairmont Camera in Los Angeles:
(+1) 818 761 4440
Clairmont Cameras in Toronto:
(+1) 416 467 1700
Clairmont Camera in Vancouver:
(+1) 604 984 4563
ARRI CSC in New York: (+1) 212 757 0906
ARRI CSC in Florida: (+1) 954 322 4545
�
�TERRY CLAIRMONT and Denny Clairmont (left to right)
�CLAIRMONT CAMERA Los Angeles
VISIONARRI
49

NEWS FROM AROUND THE WORLD
News from around the world
In response to the rapidly advancing
digitalization of postproduction,
specifically, the increasing demand for
digital colour grading in DI (Digital
Intermediate), ARRI has converted their
former “Leihpark” theatre in the film lab
into a modern RGB grading suite. Now
ARRI Munich offer their clients two colour
timing options, both under real cinema
conditions; the high-end DI option in the
Lustre master suite and the inexpensive
primary version in the new Lustre RGB
grading suite.
In the new 452 square feet RGB suite, colourists
can work the Autodesk colour correcting system,
Lustre, from a central desk and alter the primary
colours (red, green and blue) of individual film
set-ups dynamically as well as in tiny steps. With
the help of an adjustable Cache the frame ratios of
1:1.85 and CinemaScope can be projected in 2k
quality onto the 93 square feet screen with a
Barko 100 projector. To minimize light reflections
off walls, ceiling and floor, the room has been
lined with black textiles, while to avoid a ‘black
box’ feeling, real wood surfaces and red theatre
seating have been added. Processing is completed
in the same manner as in a traditional film lab,
with the three primary colours. “On the Lustre,
unlike in analogue colour grading, it is possible to
work on the entire frame, but also correct the
saturation of individual colours of a set-up,
including black & white, selectively and
dynamically, and therefore work much more
precisely,” explains Josef Reidinger, Head of the
Film Lab. “The result can be viewed immediately
as a preview and is of course reversible, thereby
50
New RGB Grading Suite in the ARRI Film Lab
� �
making it possible to implement corrections for as
long as it takes the client to be one hundred
percent satisfied with the result. The 2k projector
reproduces the colours on the large screen exactly
as they will later be seen in the theatres on film.
This makes for an extremely accurate match of the
high resolution digital projection in our suite and
the film projection in theatres,” Reidinger
continues. Because of its analogies to traditional
analogue colour grading in the film lab,
Cinematographers who have not worked with
Lustre before are immediately familiar with the
work process in the RGB grading suite. “With the
primary RGB option we provide our clients with
inexpensive digital colour grading and all the
possibilities of creative composition. The client can
therefore view the final image on a large screen
prior to a print or digital release,” says Reidinger.
Primary colour grading with Lustre offers - as does
the deluxe version - aside from time savings, great
qualitative advantages; the film, or parts thereof, is
no longer optically duplicated and therefore suffers
no generational loss. VFX shots, titles etc., can be
inserted without difficulty; even a later re-cut is no
longer a problem. In addition, the trailer, teaser, as
well as HD, Pal, NTSC and DVD masters for
international distribution are more or less an
automatic byproduct. With primary colour grading
in the RGB suite and in conjunction with the
ARRISCAN, opticals - such as shutter speed,
motion events, frame duplication, titles etc. - are
being offered in the digital suite.
“We have long recognized where things are
heading and we will not wait until traditional film
labs are a sign of the past. Most films today are
already being digitally graded – although they are
not being graded in theatre-like suites, as is the
case here at ARRI Munich,” explains ARRI General
Manager Franz Kraus.
With the completion of the new Lustre/Barko RGB
grading suite for primary digital colour grading
under theatre conditions at the film lab, ARRI
continues its strategic, service-oriented concept for
the postproduction of national and international
film projects at its Munich location. At the same
time, ARRI remains faithful to its principle: “To
always be technologically up-to-date is part of
our philosophy.”

News from around the world
ARRI Australia Ready for Take Off
On the 11th of February 2006
ARRI’s new rental house,
ARRI AUSTRALIA officially
opened its doors to the
industry’s professionals. The
Sydney based subsidiary of
ARRI Munich will gradually
offer a whole spectrum of
additional services such as
technical servicing for lighting,
camera and digital as well as
becoming active in the sale of
all three product groups.
Over 80 guests from the world of film
and media attended the launch party,
including production staff and
technicians such as DoP Andrew Lesnie
ACS, The Lord of the Rings trilogy ,
King Kong, Camera Assistant, Colin
Deane, Gaffer Reg Garside and DoP
Ross Emery, The Cave. Other guests
included German General Consul in
Sydney, Dr. Guenter Gruber, and Klaus
Volker Schuurman, Executive Director of
the German-Australian Chamber of
Trade and Commerce.
VISIONARRI
With their own inventory of state-of-the-art equipment
available on site, ARRI Australia also have the means of
efficient logistics and direct connections to the head-office
in Munich, enabling the subsidiary quick and direct
access to additional equipment. ARRI Munich will build on
the logistical experience from successfully servicing two
major productions – The Lord of the Rings trilogy (over 20
tons of equipment were shipped from Munich to various
locations in New Zealand), and King Kong.
Already, ARRI Australia is servicing several projects –
both in Sydney and New Zealand, recently completing a
four week MOW in Auckland, with DoP Ivan Strasburg
and Production Manager Liz Di Fiore who ARRI previously
successfully worked with on Anaconda 2.
Other projects curren tly in production in Sydney include
16mm TV Drama Series, Blue Water High, and Happy
Feet, directed by George Miller, a 35mm multi-camera
shoot which reunites ARRI with DoP Andrew Lesnie ACS.
�ARRI AUSTRALIA Technician Aaron
George (centre) with DoP Denson Baker
ACS (left) and David Wakeley ACS (right)
�RENTAL MANAGER Bill Ross and
Senior Client Contact Kate Walton with
DoP Andrew Lesnie ACS
�
�ARRI AUSTRALIA’S custom built facilities
in Sydney
�
Heinz Feldhaus, who
has over 50 years of
experience in the film
industry but also
knows Australia’s
expanding movie
business exceptionally
well is available in his
capacity as Advisor.
With a team
comprising five
additional staff
members, the newly
founded branch of the
worldwide successful
ARRI Group embarks
on a very promising
journey, and offers
both Australia’s and
New Zealand’s film
industry the state-ofthe-art
technology with
a wide array of
services and support.
51

NEWS FROM AROUND THE WORLD
News from around the world
Following on from the success of the Tornado digital high-speed system
for extreme slow-motion ARRI Media are introducing the Hi-Motion, a true
high-definition high-speed camera that can integrate directly into a
multi-camera broadcast infrastructure.
To be exclusively provided in Europe by
ARRI Media, the Hi-Motion developed by NAC
Image Technology is capable of recording images
at up to 300 frames per second, with an HDTV
resolution of 1920 x 1080 pixels. At 300fps the
camera can extend one second of original
fast-paced action into five seconds of stunningly
smooth slow-motion playback.
Images are captured by three state-of-the-art
CMOS sensors and recorded to a solid-state
memory (RAM) in the camera head. Recording at
300fps provides eleven seconds of storage. The
uncompressed recording is available instantly for
playback live-to-air, with no processing delay.
So who is first to use the technology? Sky Sports
have been early adopters, using the system for
coverage of Premiership league football, and are
scheduling the camera to capture action at other key
sporting events throughout the rest of the year. BBC
Sport used the Hi-Motion on the West Ham verses
Liverpool FA Cup final at the Millennium Stadium in
Cardiff, and ITV Sport on the Arsenal verses
Barcelona UEFA Champions League final in Paris.
52
The Hi-Motion Speeds into the UK
� �
The current lack of HD-compliant super slow-motion
cameras in the outside broadcast market and the
Hi-Motion’s ability to operate two and a half times
faster than its nearest competitor makes it extremely
attractive. ARRI Media currently have a single unit
with more to follow at the end of the year.
Andy Hayford, ARRI Media’s Digital High-Speed
Project Manager, comments: “With this camera
tremendously exciting slow-motion can be
delivered live, but, it is also important to point out
that although the camera is proving extremely
popular in the field of outside sports broadcasting,
it is suitable for HDTV productions requiring
slow-motion sequences.”
For enquires about the Tornado or
Hi-Motion system contact Andy Hayford on
+44 1895 457100 or
email ahayford@arrimedia.com
Hi-Motion Specifications
Aspect Ratio: 16:9
Lens Mount: B4
Frame Rates: 12 - 300fps
Resolution: 1920 x 1080
Recording Time: 11 seconds at 300fps
Pro-rata at other frame rates
Playback: From still to 300fps
Output Video: HD SDI
Power: 110 - 220V AC

News from around the world
New Position Created to
Develop Digital High-Speed
Camera Market
ARRI Media has recently appointed Andy Hayford as
Digital High-Speed Project Manager.
Andy’s role will see him concentrate on managing
and developing ARRI Media’s digital high-speed
camera business, and in particular focus on
introducing the new Hi-Motion HDTV high-speed
camera to market.
With 24 years experience in the television industry,
Andy brings with him extensive experience gained in
various positions for companies such as Quantel,
Sony Broadcast, CineVideo and On Sight.
Andy says of his new position: “We plan to make a
significant impact on the use of high-speed digital
cameras in various fields, including TV sports
production. The Hi-Motion system fits all the
requirements for a full high definition camera with
instant playback capability, a standard B4 lens mount
and a high performance viewfinder.”
�ANDY HAYFORD,
Digital High-Speed Project Manager
�
VISIONARRI
53

ARRI RENTAL
ARRI CSC
PRODUCTION UPDATE
Project Name Production Company Director DoP Equipment
8 Miles High Exportfilm Bischoff Achim Bornhak Benjamin Dernbecher ARRICAM ST/LT, 3 Perforation
Blaze Barefoot Films Reto Salimbeni Paul Sarossy ARRICAM ST/LT
Blood & Chocolate Lakeshore Entertainment Katja von Garnier Brendan Galvin ARRICAM ST/LT, 435, 3 Perforation,
Lighting, Grip
Fürchte dich nicht TV60 Film Christiane Balthasar Michael Bertl Arriflex 16 SR 3, Lighting, Grip
Mozart Tellux Film Bernd Fischerauer Markus Fraunholz Arriflex 16 SR 3, Lighting, Grip
Nicht alle waren
Mörder
teamWorx Jo Baier Gunnar Fuß Arriflex 16 SR 3, Lighting, Grip
Schwere Jungs BOB Film Marcus H. Rosenmüller Torsten Breuer ARRICAM ST/LT, 435, 235, 3
Perforation, Lighting, Grip
The Colour of Water Majade Fiction Peter Brosens, Rimvydas Leipus Moviecam Compact/SL,
Jessica Woodworth Lighting, Grip
Ungeschminkt collina Filmproduktion Jakob Schäuffelen Stefan Wagner Arriflex 16 SR 3, Lighting, Grip
Unter Verdacht VIII Pro Programme Isabel Kleefeld Rainer Klausmann Arriflex 16 SR 3, Lighting, Grip
Project Name Production Company Director DoP Equipment Serviced by
Commanche Moon CBS/HBO Alan Caso ASC Steve Litecky Lighting & Grip Illumination Dynamics
I Think I Love My Wife Behind Prods. Inc. Will Rexer ARRICAM ST & LT ARRI CSC NY
Music & Lyrics By Castle Rock Xavier Grobet Mo Flam ARRICAM ST & LT ARRI CSC NY
No Country For Paramount Roger Deakins, ASC, BSC Chris Napolitano Lighting & Grip Illumination Dynamics
Old Men
Pride & Glory Avery Declan Quinn, ASC Bob Sciretta ARRICAM ST & LT ARRI CSC NY
Reggaeton Ellen Gordon Productions Zoran Popovic ARRICAM ST & LT ARRI CSC FL
Step Show Gotta Step Productions Scott Kevan Brian Gunter ARRICAM ST & LT ARRI CSC FL
The Flock Bauer Martinez Studios Enrique Chediak Steve Litecky Lighting & Grip Illumination Dynamics
Untitled Noah Stonehenge Entertainment Inc. Harris Savides, ASC John Velez 2 x ARRICAM LT ARRI CSC NY
Baumbach
Untitled Scott Hicks Castle Rock Stuart Dryburgh Gene Engels ARRICAM ST & LT ARRI CSC NY
435 3-Perf
ARRI AUSTRALIA
Project Name Production Company Director DoP Equipment
Blue Water High Southern Star various Russell Bacon/ 2 x 16SR3, 11-110, 10.6-180,
Productions No9 Roger Buckingham Super Speeds, Modulus
Cancer Council Simon Duggan ARRICAM ST, Optimo
Commonwealth Games David Knight David Knight ARRI 235
Pedigree Simon Duggan 435, Optimo
Pepsi Lite Tristan Milani Vicki Blanche ARRICAM ST, Cooke S4, Macros
Phones Calvin Gardiner Calvin Gardiner ARRI 235, Master Primes
Qantas - Footballs Greig Fraser ARRI 235
Happy Feet Kingdom Film Productions George Miller Andrew Lesnie ARRICAM ST, Lite, 3 x
(live action component) 435Xtreme, Ultra Primes
The Water Horse Waterhorse Productions Jay Russell Oliver Stapleton ARRICAM Lite, Optimo
Untitled “MOW” Film Factory Richard Pearce Ivan Strasburg ARRICAM ST, Lite, 2 x sets
Ulltra Primes, Optimo
ARRI MEDIA
Title Production Company Director DoP Equipment
Black Book Clockwork Pictures Paul Verhoeven Karl Walter Lindenlaub, ASC ARRICAM ST/LT
Butterfly on a Wheel Butterfly Productions Inc Mike Barker Ashley Rowe, BSC ARRICAM ST/LT
Flawless Delux Productions Michael Radford Richard Greatrex, BSC ARRICAM ST/LT
Hogfather The MOB Film Co Vadim Jean Gavin Finney, BSC 2x D-20
Hot Fuzz Working Title Films Edgar Wright Jess Hall 2x ARRICAM LT
Losing Gemma Granada Television Maurice Philips David Odd, BSC 2x SR3A
Magic Flute Magic Flute Productions Ltd Kenneth Branagh Roger Lancer ARRICAM ST/LT
Sharpe’s Challenge Picture Palace Films Tom Clegg Nigel Willoughby 2x SR3A
Tales from the Riverbank Riverbank Productions Ltd John Henderson John Ignatius 2x D-20
The Golden Age Working Title Films Shekhar Kapur Remi Adefarasin, BSC ARRICAM ST/LT
54

ARRI LIGHTING RENTAL
Title Production Company Director DoP Gaffer Rigging Gaffer
Children of Men Quietus Productions Alfonso Cuaron Emmanuel Lubeski/ John Higgins/ Wayne Leach
Peter Hannan Peter Bloor
Death At A Funeral Death At A funeral Ltd Frank Oz Oliver Curtis, BSC Paul Toomey Andrew Watson
Flawless Delux Productions Michael Radford Richard Greatrex, BSC Peter Goddard
Hallem Foe Hallem Foe Ltd David Mckenzie Giles Nuttgens Campbell McIntosh
Hogfather The Mob Film Company Vadim jean Gavin Finney, BSC Terry Hunt Steve Cortie
Hot Fuzz Working Title Edgar Wright Jess Hall Andrew Duncan Bernie Prentice
Primaeval Impossible Pictures Jamie Payne Adam Suschitzky Stewart King
Tales Of The Riverbank Riverbank The Movie John Henderson John Ignatius Larry Park Pat Miller
The Catherine Tate Tiger Aspect John Sorapure Martin Healey
Sketch Show
The Magic Flute Magic Flute Productions Kenneth Brannagh Roger Lancer Kenny Pettigrew Pat Miller
The Riddle Manuscript Productions Brendan Foley Mark Moriarty Paul Slatter
The Walker The Walk (IOM) Ltd Paul Schrader Chris Seager, BSC Phil Penfold
ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURES
Title Production Company Director DoP Services
VISIONARRI
8 Miles High Exportfilm Bischoff Achim Bornhak Benjamin Dernbecher Lab, TV Mastering, DI
Adrift (Godspeed) Orange Pictures Hans Horn Bernhard Jasper Lab, TV Mastering
Fatamorgana Enigma Film Simon Groß Peter Steuger Lab, TV Mastering
Perfume: The Story of a Murderer Constantin Filmproduktion Tom Tykwer Frank Griebe Lab, TV Mastering, DI, VFX
Jenny Plato Film Production Sinan Cetin Rebekka Haas Lab
Schwere Jungs BOB Film Marcus H. Rosenmüller Torsten Breuer Lab, TV Mastering, DI,
VFX, Sound
Special Hofmann & Voges Anno Saul Peter Nix Lab, TV Mastering, DI,
VFX, Sound
STRAJK - Die Heldin von Danzig Provobis Volker Schlöndorff Andreas Hofer Lab, TV Mastering
Welcome to America Claussen + Wöbke Marco Kreuzpaintner Daniel Gottschalk Lab, DI, VFX
Wer früher stirbt, ist länger tot Roxy Film Marcus H. Rosenmüller Stefan Biebl Lab, TV Mastering, VFX
ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALS
Client Title Filmproduction Company Agency Director DoP
McDonald’s WM Store e+p commercial HEYE & Partner Agust Baldrusson Sebastian Blenkov
McDonald’s WM Burger Markenfilm Berlin CCP, Paul Kneer Michael Mieke
Heye Werbeagentur
Burger King Oli Kahn zeigt Größe Lucie_p .Start Manuel Werner Christian Rein
Sozialdienst Termin GAP Films Xynias Wetzel Philip Haucke Pascal Remond
katholischer Frauen
WWK Märkte am Morgen - Serviceplan Dritte Stefan Tischner -
Werbeagentur
Microsoft Windows Automotive Cadrage Cadrage Christof Gurland -
Allianz Formel 1 R.TV Film & Fernsehen - Tobias Heppermann Thomas Stokowski
SOS Kinderdorf 6 Dörfer für 2006 e+p commercial - Wolfgang Groos Armin Goliano
Brustkrebs Bathroom HEYE & Partner HEYE & Partner Jonathan Helmer Alexander Sachs
Deutschland e.V.
Deutsche Bahn WM-Bahn Card e+p commercial Ogilvy & Mather Mark Tiedemann Michael Schreitel
Ferrero Garden e+p commercial HP Albrecht Söhnke Wortmann Britta Mangold
Serviceplan Vierte
Stabilo Schriftbild First Frame Werbeagentur Norman Hafezi Bernd Wondolek
ING DiBa Markenfilm Helliventures Wüschner Rower Baier Joachim Hellinger
Dieter Deventer
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The opinions expressed by individuals quoted in articles in VisionARRI do not necessarily represent those of the ARRI Rental Group or the Editors.
Due to our constant endeavour to 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.
55

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