Download English (PDF, 1.93MB) - ARRI Group

More documents

Recommendations

Info

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
Page 1 and 2: 06/06 ISSUE 2 VisionARRI The Biannu
Page 3 and 4: 4 SECRETS BEHIND THE ART Director o
Page 5 and 6: VA: You’ve said before that “li
Page 7 and 8: months before shooting, which was a
Page 9 and 10: The concept was for the camerawork
Page 11 and 12: He cautions, as many of his colleag
Page 13 and 14: Although the majority of the film s
Page 15 and 16: definition) or HD (high definition)
Page 17: “Having played with the camera fo
Page 21 and 22: �THE ARRI TEAM, Utsi Martin, Jose
Page 23 and 24: �DIRECTOR KORAN JOHAR and DoP Ani
Page 25 and 26: The magnificent art deco buildings
Page 27 and 28: “MORE THAN 12 MILLION TELEVISION
Page 29 and 30: “WITH A BUDGET OF TEN MILLION EUR
Page 31 and 32: ARRIFLEX D-20 Goes Commercial at AR
Page 33 and 34: MFS started out as a camera and gri
Page 35 and 36: The 2005/2006 commercial season has
Page 37 and 38: ZOOM The new Zeiss T* XP multi-laye
Page 39 and 40: “If the cameras had not been prec
Page 41 and 42: Das Boot and the Birth of the IIIC
Page 43 and 44: The studio was nervous about Vacano
Page 45 and 46: In 1950, Tibor was finally cleared
Page 47 and 48: ARRI MaxMover A new automated stirr
Page 49 and 50: featured in dramas and documentarie
Page 51 and 52: News from around the world ARRI Aus
Page 53 and 54: News from around the world New Posi
Page 55 and 56: ARRI LIGHTING RENTAL Title Producti

Download English (PDF, 1.93MB) - ARRI Group

Create successful ePaper yourself

Delete template?

Save as template?