arri news september 2009

arri news september 2009

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Ne w Se N S or P ro t o t y P e

Dy N a m ic r a Nge t e S t c h a r t e l e c t roNic V ie w F iNDe r hD - i V S

C o n t e n t

C a m e r a

A New ARRI Digital Camera System


ALEV III – An Innovative Sensor

The ARRI Electronic Viewfinder



Measuring and Communicating Sensitivity and Contrast Range


An Update on ARRIRAW


– The first Mscope feature

The Cinematic Look of Mscope


goes Tapeless in the Big Apple

ARRIFLEX D-21 Around the World

Russia – Taiwan – Philippines – Korea

Anamorphic De-Squeeze built into the ARRI HD-IVS

Kodak moves in with ARRI

Master Primes delivered to Red Apple Camera Rentals

Go Wide, Wild and Wet – Underwater Cinematography










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

ARRI Relativity and the Future of DI

First Installation of the ARRICUBE Creator Package

Singleflash vs. Doubleflash

2k ARRISCAN meets Posthouse

ARRILASER 2 hits London and Rome

First ARRISCAN in Ukraine







L i g h t i n g

LED Performance on Stage

ARRI PAX a lot of LED punch

Sculpting with Light

FAQ for M18, AS 18 & EB 1200/1800

CABSAT 2009 in Dubai

Showtech Berlin

New SAT.1 TV Studio in Berlin

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

Mark-II – New ARRI Representative in Kazakhstan

Illumination Dynamics Impresses with New LA Facility



ARRI CSC Relocates and Expands




New General Manager and Head of Global Sales and Marketing


S e r v i c e s

A Selection of Currently Serviced Productions

ARRI Rental Germany · ARRI Media · ARRI Lighting Rental

ARRI Lab – TV Drama · ARRI Sound · ARRI Commercials










E d i t o r i a l

Dr. Martin Prillmann (left),

Franz Kraus (right)

Dear Friends and Colleagues

These are times of rapid change and it is clear that our industry is going through one of the most interesting periods in its history. Volatility in the world’s financial markets over the last year has coincided with an explosion of new technologies and digital motion capture products. Budgets have shrunk, confusion is rife and the transition from film to digital acquisition has accelerated noticeably, particularly in the world of television.

So what is ARRI’s response to these challenging times and this proliferation of competing systems?

It is, and must be, a determination to carry on doing what we have successfully done for over 90 years: design and engineer innovative products that address the real needs of the user. In an industry where the ARRI brand is trusted as a source of expertise and clarity, we must demonstrate how we have earned that trust and offer up our expertise as a solid rock amidst the sea of uncertainty and hype.

The big news at IBC and for the year to come is the new ARRI digital camera system: a range of three extraordinary cameras that will push digital acquisition to the next level and address a multitude of needs across the industry. From television commercials to anamorphic feature films, the new system will adapt to the demands of any digital production due to its exceptional image quality and the versatility of its workflow and configuration options.

Just as the digital stills world has learnt that there is more to image quality than counting pixels, so must the film industry learn that comparing the K-count of sensors is a woefully inadequate means of deter- mining overall quality. Uncompromised 4k resolution will, for some time to come, remain the domain of

35mm film, as proven by the recent ASC/PGA and BSC camera evaluation tests. Ask cinematographers what they would most like from the next generation of digital cameras and they will plead for greater sensitivity and dynamic range before more pixels. We know because we did ask cinematographers, which is why the ALEV III sensor at the heart of our new digital camera range delivers unparalleled sensitivity and latitude.

Accompanying the new cameras is a product roadmap that reflects the other thing we can do in these times of technological evolution and economic adversity: we can ensure the safety of our customers’ investments and protect them from the concerns of knowing when to invest in high-end equipment.

This we can do in two ways – firstly by continuing to make tools that are durable and have a long product cycle, and secondly by offering a range of upgrade packages and migration pathways.

Dual priorities of innovation and upgradeability are also evident in the latest advances with our lighting and DI products. Technological breakthroughs have led to new products on both the traditional and LED sides of our lighting business. On the DI front the ARRILASER II had a very successful start, bringing de- cisive speed advantages into the market. Our new entry-level ARRISCAN 2k can be upgraded, because we recognise that the needs of postproduction facilities will change over time. Meanwhile the recently unveiled ARRI Relativity postproduction software has aroused tremendous interest wherever it has been demonstrated. Though its capabilities are myriad, we are particularly excited that by manipulating texture and format Relativity widens the range of acquisition tools that can be integrated with modern delivery platforms, bridging the gap between established and emerging technologies. It also brings new life to film based libraries, offering an exciting set of tools.

The point of all this is choice. It is the most valuable thing we can offer to the creative people who drive our industry and we will never stop defending their right to choose the right tools for each story they tell.

Dr. Martin Prillmann

Franz Kraus

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A New ARRI Digital Camera System

ARRI is announcing a new range of digital cameras that will redefine digital production.

While our engineers have developed a new and unique technology platform, we have carefully looked at current market requirements for digital motion picture cameras, analyzed our experience with the D-21 and discussed future applications with prominent industry insiders. The result is a comprehensive digital camera system based around a new

CMOS sensor with unsurpassed sensitivity and dynamic range.

k Camera Features

As the result of our extensive market research, we have identified image performance, workflow efficiency and product quality as the most important features for our new digital camera system.

k The Camera Line-up

The new range of cameras will provide a compact, lightweight and affordable tool set to address every level of the broadcast and feature film markets. The three camera models will be in a price range from 50,000 to 130,000 Euros. The two entry level models utilize a 16:9 area from the sensor and are complemented by the ARRI EVF, the most advanced electronic viewfinder on the market. The high-end camera will continue ARRI’s tradition of offering a 4:3 sensor and a rotating mirror shutter linked to an optical viewfinder. A number of recording options, including several unique and innovative on-board solutions, have been designed specifically with modern workflows in mind to provide the greatest versatility both on the set and in post-production.

First and foremost, all three cameras deliver an unequalled base sensitivity of

800+ EI equivalent and a spectacular wide exposure latitude. High sensitivity and a wide exposure latitude not only allow greater flexibility and efficiency on the set, they also reduce effort and cost during post production. The three cameras also share the same gentle, organic look of the D-21. The use of a single 35 format CMOS sensor provides the same depth of field as 35 mm film cameras while allowing the use of all 35 mm PL mount lenses.

While image performance is a crucial factor, work speed and budget are also greatly affected by how well the cameras’ outputs integrate with post production.

To ensure the most effective and flexible workflow from the set to post, all three cameras provide a generous number of output signals and methods, including on-board recording options, as well as multiple live HD and ARRIRAW outputs.

The ARRIRAW features build on the wide spread industry support for the

ARRIRAW Partner Program.

Last but not least, these new cameras are endowed with a whole range of high quality characteristics for which ARRI is famous. This includes a first rate viewing system, an extremely robust and reliable build, thoughtful ergonomic design and simple and safe operation. To ensure that the cameras withstand even the most extreme environmental conditions, our unique thermal concept includes completely sealed electronics.

k The ALEV III Sensor

At the heart of the cameras is the new ALEV III sensor, which is used in all three cameras.

It is a 35 format single sensor, Bayer mask

CMOS device with a 3.5k pixel count, the same film-like look and image sharpness as the D-21, a spectacular base sensitivity of

800+ EI equivalent and an unprecedented exposure latitude. To create a sensor with such qualities, a number of novel approaches had to be invented by ARRI engineers on the pixel, sensor and signal-processing levels.

A New ARRI Digital Camera System

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Product code name:

A-EV A-EV Plus A-OV-Plus


Base sensitivity

2010 06

Sensor pixel count 3.5 K

Aspect ratio of sensor area used 16:9

2010 09

3.5 K


2010 12

3.5 K



800+ EI equivalent 800+ EI equivalent 800+ EI equivalent

Frame rate


HD on-board recording


ARRIRAW on-board recording, uncompressed


1 - 60 fps electronic

1 - 60 fps electronic

1 - 60 fps optical

Integrated wireless remote control –

(1) Earlier for D-21 owners who are upgrading

(2) By ARRI and third parties

◊ ◊ k ARRI Imaging Technology (AIT)

The demands on digital motion picture cameras are unique and in order to achieve the best in image performance, workflow efficiency and product quality, we have developed a comprehensive collection of new high-tech components.

Having full control of the imaging chain down to the smallest detail allows a perfect optimization of the whole system.

The ARRI Imaging Technology (AIT) platform consists of the new, custom designed ALEV III CMOS sensor, a high performance optical low pass filter pack, a powerful hardware imaging engine, advanced image processing firmware and a number of unique image processing steps.

k The ARRI Electronic Viewfinder

While an optical viewfinder still provides the best operating experience, it comes at a price and added weight. For the entrylevel cameras we have developed the high resolution ARRI Electronic Viewfinder

(EVF), a viewing system that combines a state-of-the-art F-LCOS micro display with an innovative auto-calibrating LED light engine, high-quality coated glass optics and robust mechanics. The system offers much more than a conventional electronic viewfinder; it has been specifically designed to meet the needs of professional camera operators by offering high resolution, accurate color reproduction, great ergonomics, overscan and extremely low latency.


ARRI’s business model is to create products that allow our customers to earn a living. This includes long product cycles and a firm commitment to protecting customer’s investments in ARRI gear. Purchasing an ARRI camera is a secure investment that will not be obsolete by the next model camera. To ensure that your investment into the D-21 maintains its value, we will be offering attractive upgrade options for current D-21 owners and early adopter incentives for new D-21 customers.

By combining state-of-the-art digital technology with more than 90 years of optical and mechanical expertise, ARRI products continue to offer features that other manufacturers cannot equal. Incorporating ergonomic design and top product quality, values on which

ARRI’s worldwide reputation is based, the new digital camera system continues to define the standard in imaging performance, usability and reliability.

Marc Shipman-Mueller

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At the heart of the new camera range is the new ALEV III sensor, which is utilized in all three cameras. It is a

35 format single sensor with a spectacular base sensitivity of 800+ EI equivalent and an extremely wide exposure latitude. To create a sensor with such qualities, a number of new and novel approaches had to be invented by ARRI engineers and leading sensor design experts on the pixel, sensor and signal-processing levels.


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Design Goals

In creating the list of requirements for this new sensor, the same method was used as previously employed for the design of many other ARRI products: First, a thorough investigation of the underlying technology was conducted in close co- operation with the world’s foremost experts on sensor design. This was combined with extensive discussions with motion picture industry experts and our own experience in digital cinematography. The result was a list of market needs and requirements: the 35mm format sensor size with a maximum

4:3 aspect ratio, compatibility with existing

PL mount lenses, an organic film-like look,

2k data and HD video outputs of the camera, ultra high sensitivity and a wide exposure latitude.

35 Format, PL Mount Lenses and the Look

The 35mm format was requested by cinematographers because of its shallow depth of field, which allows them to apply selective focus in order to guide the attention of the audience in the frame. To ensure compatibility with all PL mount lenses, including anamorphic lenses, we have gone the relatively difficult route of designing a sensor with a true 35mm format width and a maximum usable area with a 4:3 aspect ratio.

While we had investigated various other sensor technologies (CCD and CMOS) and

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An Innovative Sensor with Unprecedented

Sensitivity and Latitude

The ALEV III sensor design provides 32 pairs of outputs. Each channel is divided into a high gain path (H) and a low gain path (L), resulting in 64 channels arriving at the 14 bit A/D converters. In the final images the lowlights are reconstructed from the high gain path and the highlights are reconstructed from the low gain path for an image containing meaningful information in all 16 bits.

pixel array


32 output channels amplifiers

64 output channels

H L H L approaches in the quest for higher sensitivity and wider latitude, a state-of-the-art Bayer mask CMOS sensor turned out to be the optimal solution.

The D-21 has been praised for its organic and film-like look, natural colorimetry and image sharpness. To maintain those qualities in the new camera system, we again employed

CMOS sensor technology (partly based on the D-21 sensor design) and are using image reconstruction software that is a further evolution of the D-21 software.

Optimum Pixel Size and Pixel Count for

HD Video and 2k DI

Our goal was the creation of amazing images with outstanding sensitivity, latitude, colorimetry and image sharpness.

Contrary to popular opinion, more pixels are not always better, and for a given output format, pixel size and count have to be carefully balanced for optimum image quality. Since the main uses for digital cinematography cameras are HDTV and feature films, our target output formats are HD video and 2k data, the currently reigning standards in their fields. Uncompromised 4K resolution will, for some time to come, remain the domain of 35mm film, as proven by the recent ASC/PGA and

BSC camera evaluation tests.

Image quality is greatly affected by pixel size: larger pixels have a higher sensitivity, wider latitude and lower crosstalk, while smaller pixels provide better spatial resolution and better alias suppression. In addition, larger pixels lead to lower data rates and therefore to more efficient data handling

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The ARRI Digital Camera System

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T h e A R R I D ig it a l C a m e r a S y st e m

> > > > within the camera. Employing relatively large pixels means we are not forced to use data compression for the ARRIRAW outputs, and thus can provide uncompressed and uncompromised image quality. Given the requirements to create a single 35 format sensor with HD/2k output, a 8.25µm pixel size (an unusually large pixel in today’s world of tiny cell phone sensors) and a 3.5k pixel count was found to provide the optimum image quality.

From a 3.5k sensor the camera can generate the highest quality images in HD video or 2k DI, a concept that has been proven by the D-21 for years. It does this through oversampling, whereby more pixels are captured from the sensor than are required for the output format, and the image is downscaled by the image processing firmware. For example, 2880 x 1620 sensor pixels are down sampled to 1920 x 1080 for the HD outputs, or 3072 x 1728 sensor pixels are down sampled to 2048 x 1152 for a 16:9 2k DI. The A-OV Plus camera will be able to use respectively more pixels for 4:3 formats from the total sensor pixel count of 3392 x 2200. To provide some extra area around the primary image in the ARRI Electronic Viewfinder, 10 percent more pixels have been added on the sensor for each respective format.

ALEV III sensor prototype

A first test image taken with the ALEV III sensor prototype and, for comparison, with “competitor A”

ALEV III sensor prototype

An enlargement shows the differences in the image structure. Higher sensitivity and a wider

ALEV III sensor prototype

It is common practice during color timing to use power windows to get the most out of the captured images. The incredible exposure latitude of the ALEV III sensor prototype provides an enormous amount of information even in the darkest parts of the image, where other cameras

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The ARRI Digital Camera System

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competitor A competitor A exposure latitude provide significantly cleaner images when shooting in low light.

High Sensitivity and Wide Exposure Latitude

Higher sensitivity and a wider exposure latitude expand the cinematographer’s toolset for greater flexibility and efficiency on the set.

In addition, they also greatly reduce effort and cost during post production, when attempting to get the most out of the captured images.

The new ALEV III prototype sensor already shows a sensitivity of 800+ EI equivalent and an extremely wide dynamic range. To achieve such performance, the inherent advantages of the larger pixels have been combined with a number of novel techniques, including a special sensor design called Dual Gain

Architecture (DGA).

For highest sensitivity and lowest noise in a

CMOS sensor, a high gain must be applied in the early stages of the readout path. However, this high gain sacrifices some highlights because the voltage swing on the readout path is very limited. As a result, highlights get clipped. To overcome this problem, DGA provides two separate signal paths from each pixel to the A/D converters, each path with different amplification (gain). The first read out path contains the regular, high gain signal. The signal in the second readout path has significantly lower gain, and thus can capture the information that is clipped in the high gain path. The camera’s 14 bit A/D converters then deliver two 14 bit images, that are re-combined to a single 16 bit high dynamic range image.

Dr. Achim Oehler, Michael Cieslinski,

Marc Shipman-Mueller competitor A just see black. This translates into more creative choice during color timing, as well as the ability to “fix” underexposed images to a far greater extend than previously possible.

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The ARRI Electronic Viewfinder

To complement our entry level digital cameras we have developed the ARRI Electronic Viewfinder (EVF), a viewing system that combines a state-of-the-art F-LCOS micro display with an innovative autocalibrating LED light engine, high-quality coated glass optics and robust mechanics. The system offers much more than conventional electronic viewfinders; it has been specifically designed to meet the needs of professional camera operators with high resolution, accurate color reproduction, carefully considered ergonomics, overscan and extremely low latency.

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With an image area of 1280 x 720 pixels, the display in the new ARRI Electronic Viewfinder (EVF) provides a resolution exceeding that of most existing viewfinders. The optical design and coated glass optics ensure high contrast and low distortion while providing an evenly illuminated viewing area. The pixel field is flashed sequentially with the three primary colors. Instead of having to divide the pixels into different colors by filters, 96% of the display area actually forms an image, and therefore drastically reduces visible pixel structure.

At the same time, the high refresh rate of the display effectively suppresses the flicker and color-breakup often associated with other sequential systems. The unique auto-calibrating, temperature controlled

LED light engine ensures true and reliable color representation over a wide variety of operating conditions. A proprietary connection to the camera, and a design that maximizes the processing power of both cameras and viewfinder, lead to an extremely low latency, so the action seen in the viewfinder is always the same as the action in front of the camera. cal information provides a quick overview of camera status.

The viewfinder was not only developed to provide the best possible image, it was also specifically designed to fit the ergonomic needs of the operator. Even when using a matte box on a short prime lens, the compact dimensions of the finder guarantee that the eyepiece can be adjusted to a comfortable position for shoulder operation. The small, self-contained unit can also be easily mounted in different positions relative to the camera, depending on the application.

Given the large format of the new image sensor, the electronic viewfinder can also display an over-scanned viewing area that surrounds the recorded format. Zoom and overlay options aid in the judgment of focus and exposure while clearly laid out graphi-

Combining the advantages of an electronic display with the viewing quality operators have come to expect from ARRI cameras, the new electronic viewfinder is a flexible and economical complement to high-end optical viewing systems.

Michael Koppetz

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Measuring and Communicating

Sensitivity and Contrast Range

In our extensive discussions with cinematographers it has become clear that the camera’s sensitivity and contrast range are far more important than having even more pixels. Unfortunately, there is neither a standard method for measuring sensitivity and contrast range, nor is there a standard across different industries for how to express those photometric performance characteristics in product literature.

For instance, while in cinematography and still photography sensitivity is normally measured in EI or ASA, broadcast cameras are measured according to the aperture number f, which is necessary to avoid clipping at an 89% reflection of 2000 Lux. This broadcast method, however, is difficult to reproduce and values from different manufacturers are hardly comparable.

all currently used forms common in still photography, broadcast and cinematography, at least as long as they are reproducible and without too many variables.

Contrast range in f-stops, measured with the DRTC

Sensitivity in ASA (relative to a known standard i.e. 500 ASA Vision 3)

Sensitivity based on Exposure Index

Signal to noise ration (SNR) for a 5%,

50% and 90% y-signal level

Below are the measurements of the new

ARRI ALEV III sensor prototype compared with a leading competitor.

Dr. Hans Kiening

This poses an even greater problem, as professional moving image productions now use camera systems of all types, including cell phones, still cameras with HD output, pro-sumer video cameras, professional video cameras and top of the line single chip large format digital cameras.

To tackle the first issue, the missing standard for measuring sensitivity and contrast range of a camera system, the ARRI Central Quality

Management department has developed a

Dynamic Range Test Chart (DRTC). The DRTC is a new testing method, which can show up to 15 stops in one frame. A detailed description of the issues concerning the exact measurement of sensitivity and contrast range will be made available later and will appear in the SMPTE

Journal. At IBC there will be a setup demonstrating how the new method works.









first field with Modulation is just before clipping

Gamma 0.6





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photometry comparison

ARRI ALEV III sensor prototype / competitor

Dynamic Range

12.1 [f-stops]























darkest field above noise level

Gamma 3

The new ARRI Dynamic Range Test Chart provides more than 15 f-stops dynamic in one test chart. An overlay with spatial content clearly shows the clipping points of a camera system.

signalpath: log with offset corr.



dynamic range














800 ASA

400 ASA



Δ ≈ 1 f-stop





16.0 15.0 14.0 13.0 12.0 11.0 10.0 9.0











Until a broad consensus has been found regarding how to express sensitivity and contrast range, it seems best to use the very pragmatic approach to provide the data in

New ARRI ALEV III sensor prototype

Dynamic Range: 12.1 f-stops with ARRI Dynamic Range Test Chart

SNR 5%, 50% 90%: 26.88; 49.58 dB sensitivity: sensitivity:


1000+ with ARRI Dynamic Range Test Chart

ASA based on Exposure Index

ASA relative to 500 ASA Vision III


Dynamic Range:

SNR 5%, 50%, 90%: 20.67; 49.60 dB sensitivity:

11.3 f-stops with ARRI Dynamic Range Test Chart

400 with ARRI Dynamic Range Test Chart

ASA based on Exposure Index signalpath log / T2 new ARRI ALEV III sensor prototype


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DoP Christoph Keimel

An Update on


The increasing interest in data centric and especially raw data workflows has led to the availability of native ARRIRAW support in a wide range of equipment, tools and services resulting in convenient ARRIRAW solutions.

Since the introduction of the Data Mode the

D-21, and thus ARRIRAW, support has been successfully implemented in several recorders, software applications and service offerings from equipment manufacturers and postproduction facilities. At ARRI’s NAB User Group

Meetings the ARRIRAW website – as well as the ARRIRAW

Partner Program were launched. Participation in the program gives developers access to ARRIRAW specific information. The Partner Program has been very well received and there is a constantly growing number of participants such as Digital Vision, DVS,

Filmlight to name just a few. For further information on the ARRIRAW Partner Program please contact [email protected]

ARRIRAW means uncompromised, uncompressed pure sensor data for highest image quality demands. Furthermore it permits maximum flexibility in postproduction. “The many D-21 ARRIRAW projects we have supported have produced spectacular results,” notes Chris Romine, President of S.two Corp:

“The feature films showcased the superior dynamic range and additional latitude offered by ARRI's raw data format, while proving that a high quality project can be produced economically. The D-21, when used in the

ARRIRAW format, has proven to be the superior digital cinematography camera on the market today.”

To provide a simple method to transport ARRI-

RAW data from the camera to a recorder over standardized HD-SDI Dual Link interfaces, ARRI did develop ARRIRAW T-Link.

The ARRIRAW T-Link certificate helps to identify appropriate recorders, which capture the Data Mode stream of the camera and generate ARRIRAW files.

ARRIRAW T-Link Certified Recorders

In postproduction ARRIRAW files need to be either processed and transformed into a file format of choice or natively supported by the various applications used. The latter preserves the raw file inherent flexibility most conveniently.



12 Bit, Linear

Bayer-Sensor Data

Transported via











High Res

Media Recorder

Keisuko Giken


With the ARRIRAW Converter (ARC), ARRI offers a free software tool to view, process and convert ARRIRAW data in production quality. Linux and Windows installers can be downloaded at

Further information on ARRIRAW in general or support on how to use the ARRIRAW

Converter, are available through

[email protected]

Several partner products provide native

ARRIRAW usage in well known and established environments.



12 Bit, Linear

Bayer-Sensor Data

Header / Metadata


S.two DPX

Codex DPX




SilverStack &



ARRIRAW T-Link Certified Recorders

S.two DFR2K-AR, k

Codex Recorder, k

• Keisuko Giken UDR-D100, k

For Example

YCrCb Rec 709 or


Glue Tools


Final Cut Studio


SilverStack &






ARRI Plugin for

Avid Metafuze &

Avid DS


LIFE ON PROBATION – Germany, an anamorphic short film LAND OF FIRE – Azerbaijan Documentary

Most recently Israfil Agazadeh owner of Baquan Cinema Company produced a documentary on the history of Azerbaijan for the Ministry of Foreign Affairs. For


a file based raw data workflow was chosen. The D-21 was used in Data Mode and the ARRIRAW image data was recorded on an S.two DFR2K-AR to preserve the uncompromised image quality and the superior dynamic range. ARRIRAW was ideally suited to cope with the high contrast levels of the Azeri

Scenery. It made the requested look possible and offered incredible flexibility in postproduction.

Cinematographer Israfil Agazadeh with D-21 on location in Azerbaijan

LAND OF FIRE – Azerbaijan Documentary

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An Update on


DoP Nigel Bluck checking the D-21

Nigel Bluck, DoP:

Capturing ARRIRAW was a great way to have all the information possible at hand at the post end especially as we were shooting anamorphic therefore we needed all the information from the whole image area of the sensor.

ARRIRAW Capable Tools

Glue Tools' ARRIRAW Toolkit provides Quick-

Time compatibility. Once installed, Apple's Final

Cut Studio package as well as many other Quick-

Time aware applications will work natively with

*.ARI files (native file format). Even the Macintosh itself will display thumbnails of the *.ARI files and display header information as needed.

Pomfort’s SilverStack/Cinemator offers lightweight but professional handling of ARRIRAW image sequences. It is a unique software tool for inspecting, managing, previewing image sequences and for batch creation of digital dailies and QuickTime movies on Macs.

With the RealTime RAW technology IRIDAS products contain ARRIRAW support for real time playback and processing. The Speed-

Grade products allow users to color correct

ARRIRAW material directly for digital dailies and final finishing. “The ARRIRAW workflow ensures that the high fidelity of the D21 images is available at the final stage of the digital processing pipeline,” said Lin Kayser,

CEO of IRIDAS, “This results in a significant increase of latitude available to the colorist.”

ARRIRAW Plugins for Avid Metafuze and

Avid DS allow complete ARRIRAW offline-toonline workflows on Avid systems. Dirk

Weinreich, Product Specalist – Post Production,

Central Europe from Avid states: “The Avid

Metafuze application with a new PlugIn developed by ARRI in Munich allows us to transcode *.ARI Files to MXF and offers new DI workflows between the D-21 Camera, Avid Media

Composer and Avid DS v10.1.2. This is what our High-End customers were waiting for!”

The Plugins are going to be released at

IBC 2009.

Availability of ARRIRAW postproduction tools for Linux, MacOS and Windows allows users to choose the best fit for their needs. Together with the partners a high level of integration into existing, well established workflows has been reached. An overview of the principal

ARRIRAW workflow as well as appropriate equipment and tools is given in the ARRIRAW

Workflow Equipment chart. ARRI is also glad to see a growing number of postproduction houses that have proven ARRIRAW workflows.

ARRIRAW equipment, tools and workflows have grown mature and an increasing interest in Data Mode productions is perceived.

A short list of some ARRIRAW productions is given below.

Adrian Widera

ARRIRAW Capable Tools

ARRI ARRIRAW Converter, k

Avid ARRIRAW Plugin for Avid Metafuze, Avid DS, k

Digital Vision Nucoda, k

DVS Clipster, k

Filmlight Baselight, k

Gluetools ARRIRAW Toolkit, k

IRIDAS Speedgrade, FrameCycler, MetaRender, k

MTI Film Control Dailies DA, k

Pomfort Silverstack/Cinemator, k

LIFE ON PROBATION – Germany, an anamorphic short film

Some D-20/21 Data Mode Productions

KRABAT – Germany Feature Film; 3 Days VFX Shots






– UK / USA Art Installation Short Film



– UK Feature Film; 1 Day VFX Shoot

– Germany; Anamorphic Short Film

– USA; Anamorphic Feature Film

– Azerbaijan Documentary Film

– France / USA; $60M Anamorphic Feature Film



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N o U S T R o I S


, the first feature film shot using the ARRIFLEX D-21 Mscope widescreen format, is due to be released next year. Produced by Babe Films and PTD Studio, the touching French drama stars Emmanuelle

Béart and was directed by Renaud Bertrand. The production used Hawk Anamorphic lenses with the D-21 camera, which captured two HD streams that combine to form the high resolution Mscope image.

ARRI News spoke with cinematographer Yves Cape about his experiences shooting in Mscope.

?: What kind of film is


and what was your visual approach?

yves Cape:


is the story of a little boy who dreams about a better life for his mother. He has the feeling that she is not very happy, so he decides to try and make her fall in love with the neighbour. It’s all seen through the eyes of a little boy, but turns out to be very dramatic. The film takes place in

1970s Paris and lots of films set in that period create a look where the images themselves appear dated. Renaud wanted to do something different; he wanted the set decoration and the costumes to place the film in the

1970s, but the image to be contemporary.

?: The film was shot in Mscope on the D-21.

Were other formats considered?

yC: When I got involved it had already been decided that the film would be shot on video and the idea was to shoot with the Sony F900.

I had previously made some tests of the ARRI-

FLEX D-21 for a different film; I compared shooting anamorphic and outputting RAW data with 4:4:4 in Super 35mm [using spherical lenses and cropping to 2.35:1]. Although in the end we didn’t use the D-21 for that project, I did discover that the visual quality was perfect and established a postproduction workflow with Frederic Savoir at Amazing

Digital Studios in Paris. It’s a small facility and Frederic can easily handle the signal in both 4:4:4 and RAW. When I joined


I went to the producer and suggested the D-21.


?: Was your producer sympathetic to the idea of digital anamorphic?

yC: Our producer Fabio [Conversi] really cares about the look of the films he produces; he used to be a DoP and he’s a real fan of anamorphic. Initially we thought about shooting

RAW, but the production company couldn’t work with Frederic at Amazing because of the long-lasting relationship they had with

LTC Laboratories, and LTC told us it would be difficult to work in RAW. One day I got a call from Fabio; he had read an article on the

ARRI website about Mscope and thought we should make some tests. I was a bit worried initially about how [dual] 4:2:2 would compare with RAW, but the tests looked great and I realised there was no problem.

?: What kind of tests did you do?

yC: We shot tests with one of the actors on our set, which was already built. We shot about ten different setups – inside, outside, wide shots and long shots, dark shots and bright shots – in the three formats: 4:4:4

[spherical], 4:2:2 Mscope and anamorphic

RAW. I was very surprised by how close the quality of Mscope was to the 4:4:4 and the

RAW. For sure there is a difference between

Mscope and RAW anamorphic in terms of definition, but not that much; I can see it, but a lot of people would never see it.

?: Did the tests go through a full postproduction pipeline?

yC: Everything was graded in Lustre and shot out to 35mm on an ARRILASER; then we would project the same shot in the three formats one after the other on a big screen. Our main concern was the resolution, but it was

C a m e r a 15

The first Mscope feature

True Anamorphic and beyond HD

soon clear that Mscope was suitable for theatrical release. We experimented with sharpening the Mscope image and I found that although I didn’t want to apply sharpening to every shot, it could be useful for certain things. On this film we had two actresses who were worried about how they were photographed, so on set I was adding some diffusion. For this reason I wanted to add sharpening selectively in Lustre rather than apply it to everything with the ARRI-


?: What did you do about rushes during the shoot?

yC: Every two days we sent our tapes off and got back a DVD with full resolution

QuickTime files, which were also put up on a website. The files were direct transfers from our tapes so there was not too much compression and the resolution was very good. We also did things like putting dailies on an iPod Touch for the script girl. I personally had all the dailies on a USB key that I carried around with me, so I could show images to the set decorators or actors, or anyone else.

?: Did you use different ASA ratings with the D-21?

yC: No, although I did some tests with the different ASA settings and discovered that

320 ASA was the limit of what I was happy with. We had some night scenes and some difficult interiors that I thought would need the 320 ASA, but in fact it was fine to use

200 ASA so we never went higher than that.

I’m used to using 500 ASA film stock for darker scenes, but adapting to a 200 ASA rating on the D-21 was not a problem. My lighting list was probably a little bit bigger than it would have been with 35mm, but that was mainly because I wanted some security; I don’t think it was actually necessary.

?: What was your experience of operating with the D-21?

yC: The main difference is the viewfinder.

For me the minimum on a camera is an optical viewfinder and the D-21 has that.

You can see the actors and the lighting, and it’s just a pleasure because it’s what

I’m used to. With an electronic viewfinder you can’t really judge anything; if you don’t have an optical viewfinder it’s not a real camera for me.

?: What monitors were you using on the set?

yC: We had an Astro on the camera and I used the waveform occasionally, but I preferred to use my light meter because if you don’t have strong whites in an image the waveform tempts you to open up the lens when you don’t really need to. We also had a 17” HD monitor and it can be useful, but the problem is that once you have a monitor there, the whole crew tends to stand in front of it.

For me it’s not really necessary; it’s certainly possible to do a film without that monitor, and often we used only the Astro if we were in a tight space or outside at a location.

For more information please visit: mscope.html

Mark Hope-Jones

16 C a m e r a

Top London-based production company

Coy! Communications recently used a D-21 Mscope kit, supplied by ARRI Media, for a television commercial promoting Cuprinol garden products. Directed by Mark Denton and photographed by Bob Pendar-Hughes, the 30-second spot was shot on a suburban back garden set at Black

Island Studios and sought to emulate a colourful, Hollywood musical look.

The Cinematic Look of Mscope

True Anamorphic and beyond HD

Mscope allows anamorphic lenses to be used on the D-21 and captures a higher resolution than standard HD by utilising the entire 4x3 sensor area and outputting two HD streams.

When combined and de-squeezed in post, the two streams create a 2.40:1 image of exceptional quality.

“I had heard about Mscope but I wasn’t sure how far along it was,” says Pendar-Hughes.

“Mark likes to explore new technologies and his brief was that he wanted this garden world to be sharp and hyper-real, so I thought

Mscope would be perfect. It was great shooting anamorphic because the Hawks are excellent lenses and just give a certain look. I’ve shot anamorphic on film with Mark a couple of times before and he was curious to see what happened when we mixed HD with anamorphic – it was a very enticing idea.”

Pendar-Hughes found the D-21’s anamorphic optical viewfinder extremely helpful during the shoot. “It’s a great advantage from a

DoP’s point of view,” he says. “You’re just so much more connected to the image. Even with a high resolution electronic viewfinder

I tend not to use it – I stand by a monitor instead, but that makes me feel disconnected.

I’ve spent most of my shooting life close to the camera – close to the actors and the light.”

There was a Cinetal monitor on the set, which displayed just one of the HD streams, resulting in a distortion-free widescreen image. “It was very handy to be able to look at it occasionally and the clients loved it,” continues the cinematographer. “When I told them that it was only half the information of the final image they were just blown away; they walk ed off with big smiles on their faces, which is great for Mark because it keeps them off his back!” formed on our Iridas system and generated the Mscope image in real time.”

My Therapy has facilities to accommodate

3D mastering and found it convenient to treat

Mscope as a stereoscopic image, though this is by no means the only workable pipeline. “The nice thing about Mscope is that it fits into so many different workflows; there isn’t just one way of doing it,” continues Dado.

“Different productions will have different ways they want to do things and it’s important not to limit them, but with Mscope that works absolutely fine. On this job they were grading in an older suite so we delivered

HDCAM SR tapes for the grade. In reality

Mscope isn’t really intended for that workflow; it’s best used for the big screen because of the 3800 × 1080 resolution. But the point is that any workflow is possible.” Dado Valentic of digital lab My Therapy handled rushes and also combined the two

HD streams after the edit. “The shoot was two days, so at the end of each day we would dump the tapes to Betacam SP as editing rushes that went to the edit house,” says Dado. “Once the edit was complete they emailed us the EDL, which we con-



– Workflow Example

2x HD-SDI 4:2:2

For more information please visit: mscope.html

Mark Hope-Jones

2x HD-SDI 4:2:2

Mscope™ – Workflow Example

D-21 / D-21 HD

Anamorphic lens squeezes the image by a factor of 2 (circles become ovals).


Each HD-SDI stream contains

1920 x 720 (2.66:1) pixels of image content in the 1920 x

1080 HD image.


Both streams are stored interleaved on one tape or data magazine.

Camera sensor creates a

2880 x 2160 pixel (1.33:1)

Bayer raster image.

Image is reconstructed and downscaled to a 1920 x

1440 (1.33:1) HD image.

squeezes the image by a

Image is split into two

HD-SDI streams, one containing the even, the

Camera sensor creates a

2880 x 2160 pixel (1.33:1)

Bayer raster image.

Any HD recorder capable of recording in dual stream mode can capture Mscope

Examples: SONY SRW-1,

1080 HD image.

TM images.

S.two DFR2K, Codex Digital.


Each HD-SDI stream contains

1920 x 720 (2.66:1) pixels of image content in the 1920 x

Any HD recorder capable of recording in dual stream mode can capture Mscope



Examples: SONY SRW-1,

S.two DFR2K, Codex Digital.


A Link

downscaled to a 1920 x

1440 (1.33:1) HD image.

Image is split into two

HD-SDI streams, one containing the even, the other the odd lines.

B Link

Each stream contains half the lines, thus presents an unsqueezed image (circles are circles) for on set previewing.


720 1080


Both streams are stored interleaved on one tape or data magazine.







A Link

720 1080






720 1080

B Link


For off-line editing, only one stream is used to save bandwidth.

For image recombining, both streams can be

2x HD-SDI 4:2:2 ingested either in parallel or one after another.


After ingest, the two streams are recombined and rendered in postproduction, resulting in the same anamorphically squeezed 1920 x 1440

(1.33:1) HD image that was present in the camera.


For off-line editing, only one stream is used to save bandwidth.

For image recombining, both streams can be ingested either in parallel or one after another.


The first company to support Mscope TM is Quantel with the Quantel iQ.

streams are recombined and rendered in postproduction, resulting in the same anamorphically squeezed 1920 x 1440

(1.33:1) HD image that was present in the camera.

720 1080

The first company to support Mscope


is Quantel with the Quantel iQ.



720 1080



720 1080

720 1080




Images are cropped and if necessary de-squeezed to

2.40:1 and/or scaled depending on the delivery format. Deliverables can be a Digital Cinema

Package (DCP), a film-out or HD letterbox versions on tape or

Blu-ray Disc™.


Images are cropped and if

2.40:1 and/or scaled depending on the delivery format. Deliverables can be a Digital Cinema

Package (DCP), a film-out or HD letterbox versions on tape or

Blu-ray Disc™.










720 1080



720 1080

C a m e r a 17

Rose Byrne (left) and Hugh Dancy


is an unconventional romantic comedy from Fox Searchlight starring

Hugh Dancy as the title character and Rose Byrne as Beth, his love interest. Like with many films about love, the different ways men and women communicate and fail to communicate are often the crux of the narrative. In this case, the challenges are confounded because Adam has

Asperger’s Syndrome, a form of high-functioning autism that is marked by an inability to read what other people are feeling.

Rather than making ADAM simply about

Asperger’s, the film is a funny, charming twist on what happens when boy-meets-girl. At this year’s Sundance Film Festival, the film was awarded the Alfred P. Sloan Feature

Film Prize.

Goes Tapeless in the Big Apple

Shot in 24 days over the winter of 2007, this low budget independent film utilized the ARRI-

FLEX D-20 camera from rental house ARRI CSC, going tapeless with S.two data recording. All

D-20s have since been upgraded to D-21s with improved features, but


remains to be a notable film in visual design as well as a captivating story.

Post production was handled by Digital Motion

Picture Company in Los Angeles. The filmmakers shot in real locations around New York City to keep the budget low and to convey the character of the metropolis in a realistic manner. The motivation to shoot with the D-20 likely began with Cinematographer Seamus Tierney, whose earlier experience with the camera system on


proved to be very positive.

For co-producer Gary Giudice, the chance to employ a tapeless workflow with the D-20 was an exciting premise. “When I found out about the opportunity to record to hard drive – that was something very interesting to me. When involved in a great project, I always like to find something unique and interesting on another level that gets me excited. So for me, recording to hard drive and being at the cusp of technology was extremely appealing.”

Aside from the camera’s workflow, the filmmakers had to be confident about how the images would convey the story. Notes Giudice, “Given the visual success of the previous project that Seamus shot with the D-20 on

THE NARROWS we could create high production value and the look that we wanted with this format.”

There are hundreds of independent features made each year with the hopes to attract distribution and Giudice contends that the D-20’s filmic style definitely helped with


’s marketability. “From my standpoint, I was very, very pleased with the way the film looked,” says the producer whose credits include





. “Certainly

I think that is one of the contributing factors to the movie getting picked up [by Fox Searchlight]. In addition to the great story and great acting in


, I think you do need to have production value that’s equivalent to what is out in the marketplace of $10-$20 million films.

I think that the beautiful look can certainly be credited to both the D-20 and also to Seamus’ talents.”


An Tran

, there was a lot of comfort that

was released July 29 in select theaters.

Director Max Mayer (left)

Rose Byrne (left) and Hugh Dancy

F.l.t.r.: Rose Byrne, Peter Gallagher and Amy Irving

18 C a m e r a



Around the World

Russia: ARRIFLEX D-21 selected for high-profile production

Director Andrei Kavun (left) and DoP Sergei Mikhalchuk



with the ARRIFLEX D-21



(working title), is a

65,000,000 Rouble production directed by

Andrei Kavun (nominated for an International

Emmy Award in 2005 for his World War II drama series


) and shot by DoP

Sergei Mikhalchuk (winner of Best Photography at the 50th San Sebastian International

Film Festival for



After shooting with the ARRIFLEX D-21 for 30 days Sergei Mikhalchuk reported: “It is a big advantage that you can operate the D-21 like any other film camera, especially due to the superb optical viewfinder. We were able to use the same set of high quality cine lenses and accessories. There is a big demand for new productions in Russia, and in comparison to other digital cameras available the

D-21 is the “Mercedes” for us.”

Line Producer Vladimir Dubrovin commented:

“The D-21 was our DoP’s choice. At first we resisted, since nobody had completed such a big production with it here in Russia, but we haven’t regretted his choice. From a production point of view, this camera gives you film quality while making you independent from the lab – from scanning etc.”

Franz Koch

Taiwan: Arrow Studio invests in two D-21s after test shoot

Jebsen and Arrow Studio in Taiwan recently conducted an extensive camera comparison shoot, which looked at material shot by a

435 Xtreme, a Sony F35, and an ARRIFLEX

D-21 – the most frequently sold camera in the Asian market.

Taipei Postproduction Company was invited to support the digital workflow and the postproduction of captured footage. During the test, the D-21 was operated in its ARRIRAW

Data Mode and recorded uncompressed with

12 bit 3k resolution to a S.two DFR recorder.

The test was carried out by Mr. Chin Ding

Chien, the DoP of Taiwan’s most popular movie of 2008,


. During the shoot the cameras were tested in identical conditions with various lighting setups, both in the studio and on location, in order to extensively compare their performance in areas such as contrast and shadow detail.

Captured footage was then sent to Taipei

Postproduction Company for a DI, where material from all three of the cameras was recorded out on film and projected in a screening room to compare the image quality.

When the Taiwanese directors and DoPs were invited to view the results, they were very pleasantly surprised at the D-21’s high image quality.

As a result the D-21 has already been used for an MTV shoot, a commercial, and the feature film


(working title) is currently in postproduction.

Grace Wang

Kenny Lin (left) and Aron Lin, ARROW

As a result of the ARRIFLEX D-21’s performance in the test, Arrow Studio decided to invest in two cameras and S.two DFR recorders. Now the D-21 is ready to service filmmakers of the

Great China Area – with cameras available from Arrow Studio in Taiwan and full postproduction support available from Taipei

Postproduction Company.

f.l.t.r: Glavin Huang (Jebsen TW), Roman Gadner and Paul

Ivan (ARRI), Kenny Lin (GM of Arrow), Vicki Kao (management of Arrow) and Jeson Hao (Jebsen Shanghai) at the Golden

Horses Award for


C a m e r a 19

DoP Boy Yniguez shooting on location in Batangas for


Philippines: D-21 production KINATAY wins Best Director Award at Cannes

In 2008, CMB Film Services Inc. became the first rental house in the Philippines to invest in the ARRIFLEX D-21. The very same camera went on to be used to shoot the award winning film


, which won the Best Director award for Brillante Mendoza at the

Cannes International Film Festival 2009.

Mendoza actually became the first Filipino to win this award for a full-length feature film.

Recently the ARRIFLEX D-21 has been used for several commercials produced by major advertising agencies and production houses.

With demand growing for the D-21 Jim

Baltazar, owner of CMB, has just purchased another camera. In total, CMB plans to have at least four or five ARRIFLEX D-21s in their rental fleet.

Established in 1986 by Conrado ‘Dengcar’

Baltazar, a well-known Filipino cinematographer, and his wife Emiliana ‘Miling’

Baltazar CMB Film Services Inc. is the leading film and lighting equipment rental house in the Philippines. Initially CMB’s core business was focused on film equipment. With clients like GMA Network Inc. and ABS-

CBN – both major TV networks in the Philippines – the way was paved for the acquisition of more ARRI cameras, lenses, and also lighting. CMB now carries a wide range of ARRI lighting products, including the ARRIMAX,

ARRISUN, ARRI X and tungsten lights ranging from open Fresnel 800W and 2,000W to the

Junior 300W up to 24,000W. Current plans also include the building of an 800-squaremeter studio.

Tng Siew Moi

The cast from K i n atay

Tng Siew Moi (left), Cine Equipment, with Emiliana (right) and Jim G. Baltazar (middle) CMB Film Services

Korea: D-21 workshop held at KoFIC, Seoul

The first official ARRIFLEX D-21 event in

Korea was recently hosted by ARRI Asia.

Leading representatives from all fields of the industry, including DoPs, gaffers and owners of rental houses, came to a workshop in Seoul held at KOFIC’s (Korean

Film Council) main theatre.

Unlike a typical presentation with a subsequent Q&A session, this event was interactive right from the start. Participants were encouraged to set up the system and to raise their specific issues for discussion.

The two-day event was aimed at introducing the D-21 and its Data Mode workflow using an S.two DFR recording system – a very welcome opportunity to discover the full potential of the system and the related workflows.

Although the D-21 was brand new to participants, they were comfortable handling the system due to the great similarity with existing ARRI film cameras. Scenes were planned and shot on the first day and then on the second day, following a DI session, the footage was screened.

KOFIC was the ideal site for this event, as it provides a complete pipeline of lab and

DI services. After viewing the footage Mr.

Kim, Yong Heung (KSC), an experienced DoP who orchestrated the test shooting during the event, made a simple but clear remark:

“Without doubt, the D-21 shows the highest image quality I have seen from existing cinestyle digital cameras. Hopefully, I will have a chance to use the D-21 on my upcoming projects.” Mr. Oh, Byeong Geol, Senior

Colourist at KOFIC, underlined this view by stating: “Soon after I got the footage on the

DLP, I realized that it is unsurpassable in image quality, and the best that I have dealt with for many years.”

ARRI Asia would like to thank all participants in this event, particularly to KOFIC for its support and cooperation.

Jessica Choy

The participants of D-21 seminar at KOFIC

DoP Kim, Yong Heung with his model Kim, Ta Yeon setting up a shot

2 0 C a m e r a

Anamorphic De-Squeeze built into the ARRI HD-IVS

Don’t we all love those great images, majestic landscapes, filmed in the wide screen format? Sure we do.

Over the years, 1:2.35 turned out to be an ideal aspect ratio for film. But what about the video assist when filming anamorphic?

< Anamorphic < Non Anamorphic

Academy 1:2.35 anamorphic (factor 2)

22.0 mm x 18.7 mm

4 perforation

ANSI Super 35 1:2.35

anamorphic (factor


24.9 mm x 13.8 mm

4 perforation

ANSI Super 35 1:2.35

anamorphic (factor


24.9 mm x 13.8 mm

3 perforation

ANSI Super 35 1:1.33 non-anamorphic

24.9 mm x 18.7 mm

4 perforation

ANSI Super 35 1:2.35 non-anamorphic

24.9 mm x 10.6 mm

4 perforation

ANSI Super 35 1:2.35 non-anamorphic

24.9 mm x 10.6 mm

3 perforation

Unfortunately, with standard (spherical) lenses the film stock is not used in the most efficient way. Based on the available image size of

24.9mm x 18.7mm, which is used for example as ANSI Super 35 1:1.33 a non-anamorphic image is only 24.9 x 10.6mm. Some 44% of the available image area is actually not used this way.

To save on raw stock, the film pitch can be set to three perforations per image. Additionally reducing the image width to the 22mm

Academy standard, the pitch can even go down to two perforations per image, resulting in savings on raw stock by 25 % or even

50%. But still, we all love those great looking images and for many of us, film is an art based on beautiful large pictures.

This is why anamorphic lenses are still popular. Based on the Academy standard with an image width of 22mm, anamorphic lenses stretch the image height form 9.36mm by a factor of two to 18.7mm and make best use of the image area. Almost every single film grain is actually employed instead of only half of them, ensuring superior image quality.

Anamorphic lenses distort the image using different reproduction scales for the horizontal and the vertical axis. State-of-the-art film scanners are able to directly import anamorphic images. In an approach to combine the cost savings of a 3-perforation film pitch with a maximum use of the available area, the aspect ratio of 1:1.3 was created. This new standard uses a width of 24.9mm and creates images of 13.8mm height, which perfectly matches the 3-perforation pitch of 14.25mm.

The same 2:1 or 1.3:1 morphing factor applies to the viewfinder system when shooting anamorphic. For the eyepiece of a film camera it was always easy to use another optical element to revert the morphing by using extra optical elements. However, this only applies to the eyepiece: The sensor of a video assist still gets a distorted image. Another optical element would be too complicated and too bulky. Furthermore, lenses with cylindrical elements tend to pass less light through, and finally, an image which uses the maximum size of the video assist sensor is preferable against one that uses only half of the sensor, especially as the resolution of the SD video assist sensors was already very limited. On top of this, the new 1.3 lenses would have created a need for another video assist lens.

As a consequence an electronic solution for the anamorphic de-squeeze is preferable.

Mini monitors which are designed to be used on-board for the video assist, often had software for de-squeezing – but what about the large standard flat screen monitors?

Very often the video assist image on the bigger screens was distorted. Sooner or later the film crew got used to this, and everybody took comfort in the fact that the final images were fine again.

With the new approach of the HD-SDI for the

ARRICAM and ARRIFLEX film cameras, ARRI offers a perfect solution. The increased processing power and resolution of the elec-

Anamorphic De-Squeeze built into the ARRI HD-IVS

Bildunterschrift Bildunterschrift

C a m e r a 21

tronics inside the HD-IVS, and an agreement on patent issues enables us to offer an electronic de-squeezing right inside the

HD-IVS. No need to search for a special monitor with de-squeezing facilities, no need for special lenses, and no need to get used to distorted images on set.

A simple setting through the on-screen menu enables to switch between standard image, anamorphic 2:1 and anamorphic 1.3:1.

This works for all new HD-IVS, such as the


The image is squeezed vertically by either the factor of 2 or 1.3 and is centered on the video assist screen. The missing video lines on the top and at the bottom are filled with black, so the image is identical to the wide screen format. The black areas can be used to insert metadata, such as camera speed, shutter angle, battery voltage or status information, without overlaying the actual video image.

For an optimal result, please use a 4:3 HD-

IVS lens if anamorphic lenses with a factor of 2 are used, or a 16:9 HD-IVS lens if the anamorphic lenses have a factor of 1.3.

This ensures that the entire screen is used.

Klaus Jacumet







Unprecedented Image Quality

• 1920 x 1080 high resolution output

• 3 stops more dynamic range than

standard def IVS

• Ground Glass Cancellation (GGC) for

a clean image

• less noise through optimized exposure


• sharp, high contrast image

• excellent color reproduction

Screen Capture

• capture of individual HD images onto a

USB stick

• load captured images back into HD-IVS

for compare function





1 anamorphic lens

2 film with anamorphic image

3 mirror shutter

4 ground glass with anamorphic image

5 beam splitter

6 video assist lens

7 video assist ccD chip with anamorphic image

8 mirror

9 de-anamorphic relai lens

10 mirror

11 eye piece images marked in red are anamorphically distorted


T h e HD - I V S o f fer s d e cisi ve a d vant a ge s:

3x HD-SDI outputs

• 4:2:2 color sampling

• with overlay, without overlay and switchable

• progressive, progressive segmented frame

or interlaced output

• 23.976, 24, 25, 29.97 or 30 fps

Retains Popular IVS Features

• simple user interface

• flicker free operation

• design and optics closely integrated

into film camera

• integrated frame line inserter

• integrated text inserter

• compare life to stored image

• automatic and manual gain control

• white balance: indoor, outdoor,

manual and one-push-white

2 2 C a m e r a

Kodak moves in with ARRI

(f.l.t.r.) David Hill, Boris Mitchell and Rebecca Oswald in their

Kodak Australia Sydney Office at

ARRI Australia

On 1 June 2009, the Kodak Australia Sydney Office relocated from their previous North Ryde location to join forces with ARRI Australia in their Sydney “Silicon Valley” premises, reinforcing their mutually beneficial partnership.

Kodak and ARRI have been industry partners for several years now and the many synergies that exist between the two companies make this a natural fit. David Hill,

National Sales & Marketing Manager,

Boris Mitchell, Account Manager, and

Rebecca Oswald, Sales & Marketing Support, are now sharing the same roof with

Stefan Sedlmeier and his team within their

Macquarie Park premises.

As the industry goes through great change,

ARRI and Kodak continue to raise the bar with their commitment to the ongoing advancements in film technology, demonstrated by Kodak’s recent introduction of the latest

Vision3 250D film stock. By extending the

Vision3 portfolio, Kodak is giving their customers more workflow efficiencies combined with all the existing advantages of film – image quality, resolution, unrivaled dynamic range, flexibility and archivability. Kodak is very proud to now offer Vision3 in both 500T and 250D speeds, enabling more creative options in a wider variety of lighting conditions.

Despite today’s digital hype, film remains the state-of-the-art image capture format available. It enables filmmakers to work without compromise, to bring their vision to life in a way that no other medium can match.

Based upon customers’ expectations for the very highest quality images – and for flexibility and ease of use – Kodak motion picture films continue to deliver the best images possible for a new generation.

“Kodak is thrilled by the opportunities that exist in working more closely with ARRI. This move is a good example of industry partners working together for the benefit of our motion picture customers,” says David Hill.

For more information on Kodak products and services, visit

Complete Set of

Master Primes and Diopters

delivered to

Red Apple Camera Rentals in Sydney

A complete set of Master Prime lenses featuring all fourteen focal lengths from 14mm through 150mm plus a set of Master Diopters and matte box accessories have been sold to Sydney based DoP and camera rentals owner Viv Scanu by ARRI Australia. Viv took delivery of these high class lenses at the beginning of May 2009 and is now the proud owner of this comprehensive lens set.

Red Apple Camera Rentals is a full service rental house based in Artarmon, an inner suburb of Sydney. Red Apple supplies a complete range of the latest cameras, lenses and accessories.

(f.l.t.r.) ARRI Australia’s General Manager Stefan Sedlmeier with Viv Scanu, DoP, Red Apple Camera Rentals

C a m e r a 2 3

Roger Buckingham ACS with his

Underwater Housing accommodating the ARRIFLEX 435ES

Photo: Chris Miller

Go Wide, Wild and Wet

Underwater Cinematographer and passionate surfer Roger Buckingham ACS took delivery of the first Ultra Prime 8R in the southern hemisphere. The lens gets used on his ARRIFLEX 435ES.

Roger Buckingham is an Australian based director of photography. His current area of work is television commercials and drama – both feature and television. He is one of few local DP's with a recent theatrical release of an Australian feature. Comfortable with all DP duties, he is Australia's leading specialist in the photography of water and has customised equipment for this to provide world standard imagery. Roger Buckingham has been accredited by the ACS, the Australian Cinematographers Society, in 2000.

Some of his recent work covers prime time series like





as well as theatrical releases such as








In March 2009 Roger took delivery of his

Ultra Prime 8R/T2.8 lens to be used under dedicated shooting conditions, mainly feature and TVC's. This extreme wide angle lens is providing a unique look unparalleled by any other lens in the film and video world.

Because of its rectilinear design it shows an extremely wide angle of view without any of the commonly associated fisheye distortions.

Several tests at ARRI Australia have been performed to demonstrate the excellent performance of this lens and to accommodate any customer request before, during and after the successful sale. The team was working with Roger in the lens test room as well as on the camera and Roger has carefully chosen this lens over any other product of its style. Once more it has been proven that such kind of specialised equipment as the Ultra Prime 8R requires product knowledge and on-site support as well as a sales demonstrator for test purposes. Especially in the motion picture industry customers love to evaluate the fidelity of an optical component, which will contribute to their experience and success.

Roger Buckingham ACS setting up his Ultra Prime 8R lens at Newport Beach, Sydney

(f.l.t.r.) ARRI Australia’s Camera Engineer Rey Adia,

Roger Buckingham ACS, General Manager Stefan Sedlmeier

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

ARRI Relativity is a powerful suite of postproduction software tools that offers versatile control of texture, format and frame rate through sophisticated motion estimation techniques. Modular and easily configured to meet the needs of individual customers, the full software bundle currently comprises three applications: Texture Control, Film Simulation and Space Time Converter. The technology was developed by Cinnafilm, a New Mexico software developer, teaming with Digital Film Central, a Vancouver postproduction facility, and is marketed exclusively by ARRI.

Relativity SpaceTime-GUI

In essence, ARRI Relativity allows users to alter shots in ways that appear as though they were achieved in-camera. Digital images can take on the look of film while film images can be selectively degrained; shots filmed at a particular frame rate can be expanded or contracted to other frame rates and one format can become another. Decisions that once had to be made on set can now be made in post.

Texture Control

With Texture Control, ARRI Relativity permits absolute control of the texture, grain and noise of images acquired in any film or digital camera format. Grain can be removed entirely, reduced, or even added, allowing formats to be mixed and matched without any textural variation. The software easily overcomes grain difficulties that have prompted some television broadcasters to restrict film content, particularly Super 16 material, on HD channels.

Besides permitting new productions bound for HDTV broadcast to be shot on Super 16,

Texture Control opens unlimited opportunities for existing film-originated television programs in archives across the globe to be remastered, degrained and broadcast

A scene from

WE LT A M D R AHT before and after degraining

Original in HD for new generations. Inconsistencies of grain tolerance between international broadcasters need never be an issue again.

Texture Control also allows grain or noise to be reduced prior to compression for Blu-

Ray and DVD authoring, and IPTV distribution, without any sacrifice of picture detail.

Alternatively, it facilitates the production of impressive, theatrical-quality images from

Super 16 mm or 2-perf 35 mm.

Film Simulation

As well as removing grain, ARRI Relativity has the power to add granularity to images, allowing digitally captured material to be given natural film-like texture. The degree to which grain is added, and the exact type and size of the grain, is entirely up to the user. 16 mm film material can be degrained with Texture Control and then have subtle

35 mm grain applied to it with Film Simulation, allowing it to be inter-cut with original

35 mm footage far more easily. With these tools, film and digital formats can be mixed and matched at will, and grain controlled to meet the precise requirements of any number of different delivery platforms.

SpaceTime Converter

Aside from its abilities to control grain and noise, ARRI Relativity is an extremely useful

00:00:25:00 tool for manipulating format and frame rate.

SpaceTime Converter permits any TV or motion picture format to be transformed into any other with features such as crop/zoom, spatial resampling, de-interlacing and the addition or removal of 3:2 pulldown. HD and

SD images can be converted in real time, while audio can be converted and resampled with or without pitch correction.

One of the most sophisticated and beneficial features of SpaceTime Converter is its ability to convert frame rates with an exceptional degree of control. Slow motion and speed ramp effects can be created without any judder or visual degradation by introducing newly generated frames to footage shot at normal speeds. Advanced motion estimation techniques ensure that additional frames exhibit accurate motion blur, making it appear as though the footage had been shot at a high speed in-camera. Alternatively, simpler conversions such as 24 fps to 25 fps or

30 fps can be made at the touch of a button, overcoming the problems associated with differing international broadcast standards.

ARRI Relativity Workshops and Demonstrations

The first demonstrations of ARRI Relativity took place in the US. Fotokem, the LA-based facility that had been beta-testing the software, hosted a launch event in June that was attended by cinematographers including ASC

President Daryn Okada ASC and Vilmos

Zsigmond ASC. In New York, a seminar was held in the DI theatre at Goldcrest Post, hosted by Goldcrest’s Senior Colorist John

Dowdell and Managing Director Tim Spitzer.

Both events involved practical demonstrations of Relativity’s capabilities, presented by Glenn Kennel, Chief Technology Officer at ARRI Inc, and demo artist Sarah Priestnall.


D i g i t a l I n t e r m e d i a t e S y s t e m s 2 5



00:00:30:00 00:00:35:00




– directed by Rainer Werner Fassbinder, filmed on 16 mm reversal film stock in 1973,

DoP Michael Ballhaus

00:00:42:13 00:00:45:00

Following these successful events in the US, a DI workshop was recently hosted by ARRI in London, introducing the software to postproduction professionals, cinematographers and producers. A sneak preview of Relativity at the BSC camera evaluations the day before the workshop generated a lot of interest.

As a result, over 60 guests came along to the screening room at the Soho Hotel, right in the heart of London’s thriving postproduction community. After an introduction and welcome from ARRI (GB)’s Milan Krsljanin,

Sibylle Maier of ARRI DI Systems in Germany gave a presentation on the latest DI developments from ARRI, such as the ARRI LASER 2 and ARRISCAN Archive options. Following that, Harald Brendel, Head of DI Application Engineering at ARRI Munich, presented the new Relativity software, with Glenn

Kennel also on hand to share his experiences with Relativity in the US.

The positive audience reaction to the ARRI

Relativity demo reel was obvious, with many guests expressing amazement at how clean the degrained 16mm material looked.

After the demo reel, Harald Brendel gave a live, practical demonstration of how the new

Original Degrain


is a feature film produced by the Munich based DRIFE Deyle & Richter

Filmproduction. Filmed in Morocco on S16 mm. Director Lancelot von Naso, DoP Felix Cramer

software can be used to manipulate grain, formats and frame rates. As a result of the workshop, three major London-based postproduction facilities requested in-house product evaluations of ARRI Relativity. There was also a great deal of interest in the ARRI-

SCAN Archive Gate, which was brought over from Munich for the workshop. Immediately after the presentation, representatives from Ascent Media borrowed the gate to test it with some severely damaged nitrate stock dating back to 1928. Two other facilities also requested a trial of the Archive Gate.

Relativity workshop at Fotokem

Relativity event in London

00:00:35:00 00:00:45:00

2 6 D i g i t a l I n t e r m e d i a t e S y s t e m s

First Installation of the ARRICUBE

Creator Package

Spring 2009 saw the release of the new ARRICUBE Creator software. With the Creator customers can generate their own 3D LUTs either for previewing DPX or Cineon Files on a digital display in the DI suite, or for a correct conversion of video graded material for film recording. The ARRICUBE Creator generates the 3D LUTs based on measurements of the digital display combined with measurements of the film output. Bundled with the X-Rite Hubble colorimeter, it gives a complete package for correct color display.

One of the first customers to officially order the ARRICUBE Creator was WFDiF, a documentary and feature film studio/laboratory based in Warsaw. Jarek Migala, a DI specialist at WFDiF, spoke with ARRI News about how the new technology has benefited her company.

?: When did you start doing DI work and what equipment do you use?

Jarek Migala: Having functioned as a labofulfill our expectations, a custom 3D LUT became a must. To begin with we were using

FilmLight Truelight for display calibration, but as it is a hardware solution we could not expect our clients to do the same. For other stations in-house we've been using the generic 3D LUTs from Lustre Color, useful for all Autodesk systems. Unfortunately they do not work in all cases, for example when there are different displays or different applications.

Therefore we were on the lookout out for a system capable of a number of things: to calibrate a display and create a profile of that display; to generate custom 3D preview

LUTs for all in-house displays and for our biggest clients; to generate custom 3D LUTs for color space conversion (video to film, HD or XYZ); to control the stability of display conditions with a very precise instrument; to indicate out-of-gamut colors.

ratory for 60 years, we decided to upgrade our postproduction department and invest in equipment for the DI process five years ago.

With an ARRISCAN, Autodesk Smoke, Autodesk Lustre and an ARRILASER, we now offer the whole DI chain under one roof.

?: How do you ensure that colors graded in your suite look the same in the film projection?

JM: When it was obvious that none of the

1D LUTs, or even generic 3D LUTs, would

?: What drove your decision to choose the


JM: First of all the software fulfills all our needs and we appreciate that the LUTs are unencrypted, so we can use them on all our workstations in-house, but also pass them to our clients. This avoids annoying discussions

D i g i t a l I n t e r m e d i a t e S y s t e m s 2 7

First Installation of the ARRICUBE

Creator Package

about why final graded material looks different on the film recording. Besides that, we are very happy with our close relationship with ARRI - we use similar solutions and we use the same terminology. So we decided to buy the ARRICUBE Creator with an X-Rite

Hubble colorimeter.

?: How have you utilised the ARRICUBE

Creator so far?

JM: We have generated 3D LUTs for all our in-house stations with very good results; the color response on all displays fit perfectly.

We did two custom measurements for our clients, to calibrate their displays to our laboratory. We generated custom video-to-film

LUTs, which helped a lot for an animation project where the main character has an out-of-gamut color. Additionally, and very importantly for us, we generated a 3D custom conversion LUT to XYZ color space, as from this year we have started to offer Digital Cinema Masters. We do around 20 feature projects per year, for both domestic and foreign clients; with the tools we use and our know-how, we can deliver exceptional results for the cinema. For me ARRI has proved their high level not only in manufacturing hardware, but also in sharing knowledge with their clients.

Sibylle Maier

For more information on ARRICUBE please visit: arricube.html

Image on screen from




) by Studio Filmow Rysunkowych

2 8 D i g i t a l I n t e r m e d i a t e S y s t e m s



ARRISCAN LED + CMoS technology

= highest dynamic range


The ARRISCAN utilises a unique high power LED illumination system that allows for very accurate and repeatable exposure of the film. The possibility of upgrading an ARRISCAN 2k with the Doubleflash option provides a good reason for having a closer look at this clever piece of ARRI technology.

Singleflash Doubleflash

Film Stock: Kodak 5219 Vision 3 500 T

Within the ARRISCAN, high power LEDs for red, green, blue and infrared expose the image one color after another for a real RGB image with the full (monochrome) 3k or 6k sensor resolution; meanwhile the copper heat dissipation module with active electrical

(Peltier) cooling keeps the LEDs at a controlled temperature of 25°C for proper color reproduction.

brightness 22750






























In combination with the ARRI-designed CMOS sensor, which can be overexposed, all ARRI-

SCANs are capable of double flashing the film being scanned (though this is an optional extra for the ARRISCAN 2k). For film scanning, the image sensor needs to capture the whole dynamic range of the source material.

The ARRISCAN calibrates its LEDs to avoid overexposing the sensor (clipping) at the least dense part of the film (usually the base: d min

= 0).


5 7.5

10 time (ms)

After the first exposure and the sensor readout, the

LED illumination produces a second flash with 10x the energy.

how good the image sensor is; this is why

ARRI introduced the Doubleflash technology.

It is similar to HDR (high dynamic range) still photography in that it adds a second exposure, with ten times the light energy, to the first ‘standard’ scan.

The higher the density of the film material, the less light can travel through the emulsion and reach the sensor. For a normal camera negative the highlights will have a maximum density of about 1.8, so these parts of the image will only let through roughly 1/60 of the light compared to the base.

Every imaging device is susceptible to noise.

The less light that reaches the sensor, the worse the signal-to-noise ratio becomes, no matter

This second scan will be ten-times over- exposed so that all image content that is below d = 1 is lost in clipping, but the maximum density on the film will expose the sensor to ten times more light than in the normal scan. A final blending of the two scans results in a much better signalto-noise ratio in the high densities than any normal scan technologies.

D i g i t a l I n t e r m e d i a t e S y s t e m s 2 9

The effects of the Doubleflash technology on a colour wedge exposed with an ARRILASER

In the lower and middle densities, the two xprofiles are exactly the same. In the higher densities, the average code values are still the same between Singleflash and Doubleflash

(same linearity and color reproduction) but the

Singleflash scan will show higher noise levels than the Doubleflash scan.

x-profile ARRILASER color wedge, doubleflash scan x-profile ARRILASER color wedge, singleflash scan

First and second exposure are combined into high dynamic range scan of difficult overexposed material.

What does that mean for scanning?

• The colour reproduction is exactly the same between Singleflash and


with higher densities. With Doubleflash print film scanning results on the ARRISCAN are a lot cleaner than Singleflash scans or scans made with traditional equipment.

• The Doubleflash scan takes about twice the time of the Singleflash scan.

• The noise level differences between

Singleflash and Doubleflash only become visible in densities above

1.6 – 1.8. For a normal camera negative, the visible effects of this technology are minimal. Only the very bright / burnt-out highlights are of sufficient density on the film to show any difference between

Singleflash and Doubleflash.

• When film is overexposed, most of the image information is located in the high densities of the negative.

In the grading process the image brightness has to be pulled down dramatically to bring back this information from the highlights. This results in a visible difference in noise level between Singleflash and Doubleflash.

• Print film has a much higher dynamic range of up to d min

-d max

= 4. This is a big issue for all film digitizing equipment using only one exposure.

The superior quality of Doubleflash becomes more visible when dealing

• Maximum densities measured on black & white film stocks can be higher than on color negative film.

Therefore this film stock also benefits from Doubleflash scanning.

3 0 D i g i t a l I n t e r m e d i a t e S y s t e m s




The first ARRISCAN 2k installed in Cairo

Only weeks after its launch, the first ARRISCAN 2k was sold to 2K Posthouse in Cairo and installed in July 2009, becoming the first ARRISCAN in Africa.

2K Posthouse offers postproduction services for feature films as well as for TV and commercials productions; the owner’s family has a longstanding relationship with ARRI. Services at the facility include editing, 2D and

3D effects work, sound production and DI color grading on a Baselight system. The ARRI-

SCAN 2k for file-based 2k and HD workflows rounds out the portfolio and allows 2k

Posthouse to offer comprehensive digital postproduction of the highest quality possible.

The speed of the ARRISCAN was a decisive factor in more ways than one: with projects in the pipeline, the first reels of film were already waiting to be scanned. Through a combination of ARRI’s efficient service and shipping departments, a nighttime crane ride in

Cairo and many helping hands working together, the machine was installed and running at 2K Posthouse with a minimum of delay.

ues of the ARRISCAN family with its unsurpassed image quality, flexibility, 3k CMOS sensor and powerful software package.

With a scanning speed of 8 frames per second, the ARRISCAN 2k guarantees high throughput and short turnaround times; the parallel ARRISCAN workflow will now speed up operations at 2K Posthouse significantly - a crucial factor when working on time-critical commercials. As soon as the first shots are scanned onto the SAN, the colorist and director can start the grading process while more reels are processed on the ARRISCAN.

What makes the ARRSICAN 2k unique is that it can be customized to suit different client needs and budgets. 2K Posthouse bought its ARRISCAN 2k with the 16mm gate option and the ARRI doubleflash technology.

However, since the system is entirely modular and upgradeable, a keycode reader might follow soon, and 6k/4k scanning or infrared illumination might be options for future upgrades.

David Bermbach

Together with the highest speed available, the ARRISCAN 2k offers the traditional val-

Two world-class postproduction facilities – Deluxe Italia in Rome and Ascent 142 in London – have become the first to install the new ARRILASER 2 film recorder.


hits London and Rome

The ARRILASER 2 represents the next generation of a film recorder that has established itself as an integral component of DI workflows all over the world.

For 10 years the ARRILASER has set the standard in image quality and maintained an unrivalled level of performance. With over 250 units in almost constant operation worldwide, it is the backbone of the film recording industry.

Supporting a 16-bit image path and recording speeds that double those of previous models, the ARRILASER 2 will transform the

DI capabilities of any facility where it is installed. “We will now be able to offer better tonal reproduction with the 16-bit workflow and – most importantly in an industry defined by deadlines – vastly improved turnaround times for our clients,” says Adrian

Bull, Chief Technology Officer for Ascent


In Rome, Deluxe Italia has set up a new stateof-the-art digital postproduction facility.

“Deluxe Digital Rome will offer a full range of services: DI, scanning, film recording, DCP

D i g i t a l I n t e r m e d i a t e S y s t e m s 31

Alexander Turchinov’s


at Dovzhenko

First ARRISCAN in Ukraine

fltr: Igor Stavchansky – Dovzhenko Film Studio, General Manager;

Anna Chmil – Chief of the Ukrainian Ministry of Culture Cinematography Department, Andrey Grushka – Dovzhenko Film Studio,

Financial Manager; Vasiliy Bosovich – Scriptwriter

In recent years the big issue for cinematographers and motion picture equipment facilities has been the integration of digital technologies into traditional film workflows. At Dovzhenko

Film Studio, this issue has played a vital role in rejuvenating the business.

Dovzhenko is the biggest and most sophisticated production facility in Ukraine; it has a long, noble history and celebrated its 80 th anniversary last year. The technical department is a particular strength of the studio, having been one of the most important equipment service centres during the Soviet era. Dovzhenko has also benefited from being authorized by ARRI, and took delivery of the region’s first ARRICAM cameras a few years ago.

In 2005, Igor Stavchansky was appointed as General Manager at Dovzhenko. “I was invited as a crisis manager when the studio was in a very difficult financial situation,” says

Stavchansky. “My team and I made a fiveyear plan for a marketing and technical restructuring of the facility. As part of that plan, and with support from the Ukrainian government and Ministry of Culture, we bought our first ARRISCAN film scanner this year.”

The ARRISCAN represents a vital segment in the DI workflow. In order to make best use of the new equipment, Dovzhenko has forged close links with private businesses. One of the strategic partners in the studio’s new business strategy is Kiev-based rental facility Technomedia, managed by Oleg Pavluchenkov. “We did not hesitate to choose the ARRISCAN,” says Pavluchenkov. “Digital workflows and imaging offer amazing opportunities, but my strong belief is that none of today’s digital sensors are able to match the plasticity and beauty of film. Both 16mm and 35mm have tremendous production potential, and the

ARRISCAN at Dovzhenko Film Studio will help us to connect both worlds.”

With brand new ARRIFLEX 416 and 435 cameras, Technomedia is able to offer top quality productions a range of formats including 16mm and 35mm film, as well as digital. By partnering with such well equipped facilities, Dovzhenko is becoming an increasingly important centre in the cinematographic world.

Igor Stavchansky explains that “equipping our ARRISCAN with the Digital Dailies package means we can offer a new level of efficiency to productions. The Digital ICE dust and scratch-removal software in our

ARRISCAN package allows us to tap into the rich studio archives and give a second life to titles that are an important part of international movie history.”

With the new business plans and new, cutting edge equipment, as well as a second large stage of over 4000m


, Dovzhenko

Film Studio is attracting more and more cinematographers and producers from all over the world.

Alex Berkovitch

Two world-class postproduction facilities – Deluxe Italia in Rome and Ascent 142 in London – have become the first to install the new ARRILASER 2 film recorder.

mastering and duplication, and 2k projection” says Director of Technology Simone Nobili.

“Our continuous search for the best quality and service led us to choose the ARRILASER 2 film recorder. The new machine will join the already installed ARRILASER and ARRISCAN; it offers an incomparable speed and will allow

Deluxe to meet the needs of its customers.”

Utilising a Linux-based software package, the ARRILASER 2 features a newly designed

GUI that gives a constant overview of recording jobs in progress. The new software offers unprecedented flexibility of operation and speeds up daily operations considerably.

“It delivers greater accuracy and is supported by an advanced project management system, which allows us to integrate the device into our existing DI pipeline,” adds Adrian Bull.

Ascent 142 and Deluxe Digital Rome will now be able to turn around quality laser film-out work faster than competing facilities, at speeds of 0.9 s/frame in 2k and 1.5 s/frame in 4k.

The acquisition of ARRILASER 2 recorders reflects both companies’ determination to lead the field in their respective markets and offer complete digital postproduction services under one roof.

The ARRILASER 2 model range has been extended by the introduction of two new versions of the ARRILASER 2 HighSpeed.

Each of the ARRILASER 2 models can be upgraded to match the specifications of models higher up in the range. This allows the functionality of the ARRILASER 2 to expand in line with the needs of individual businesses.

Mark Hope-Jones

3 2 L i g h t i n g


ARRI LED technology enters theatre lighting applications

For its specialised series of theatre products ARRI lighting is recognised worldwide as the professional solution when it comes to Fresnel style daylight and tungsten fixtures for theatre applications. With the new LED product series BLM 25 and PAX,

ARRI continues to grow successfully in the theatre lighting market.

BLM Series lights Münchner Kammerspiele

The first theatre project based on ARRI BLM25 modules (Background Lighting Module 25W) was realised by lighting designer Max Keller at the Münchner Kammerspiele, Munich’s city theatre. Keller first tested the colour mixing

RGB BLM modules shortly after the first BLM installation at the rbb TV channel studio in

2007 (see ARRI News 2007-04).

Although Keller wanted to create saturated colors he also desired the possibility of creating tuneable white light. “White light created from only RGB LEDs never gives a good enough white, since there simply is not enough spectral information in the light,”

Keller says.

To meet the need for high quality white light ARRI designed a new variant of BLM with 3200K and 5600K LEDs. These new modules were used alongside their RGB counterparts in a combined installation to


Max Keller is heading the lighting department at the Münchner Kammerspiele since 1978. Also he puts the

‘scene’ into its best light in many other theatres around the world. He teaches at theatre universities, academies and colleges and has published books and numerous articles in related magazines.

create a variable color temperature white and color mixing light source.

Keller then came up with his concept of a flying horizon. He and his team created a

9 meter long by 1 meter tall by 0.5 meter wide motorised bar containing 72 BLM25 modules, comprised of 36 RGB and 36

3200K/5600K versions. The bar has a conical shape and a painted white inside for intensifying the light output. At the front of this construction a so-called opera foil, a special kind of a rear projection screen, comes into action and gives a very even and smooth looking light distribution. “With this setup it is no longer possible to identify the individual LED positions by their hot-spots and it is a very pleasant soft light source for the audience,” Keller remarks.

with a wireless DMX unit to provide enough leeway for the motorised LED bar. The system is powered by standard PowerDMX

(24VDC/DMX512) power supplies.

The first play where this installation was used is called “


” after the series of feature films by moviemaker Krzysztof Kieslowski and his writer

Krzysztof Piesiewicz. “We used the LED bar for introducing the 3 acts and to give a special effect to the end of the play,” Keller describes of the lighting design.

For controlling the LED modules, Max Keller uses a NTX DMX console from Transtechnik

Above: The 9m long by 1m tall LED bar equipped with

72 BLM25, 36 RGB and 36 3200K/5600K versions.

L i g h t i n g 3 3

Left: LEO Blast 48 floor ramp

Right: PAX LED panel

PAX performs on stage at Austria's State Opera House in Vienna

A very special request from the Austrian

State Opera House in Vienna reached

ARRI Lighting in April this year. Rudolf

Fischer, head of the lighting department at the Vienna State Opera, contacted ARRI through the local distributor LB-electronics.

Fischer’s and Werner Wolf's idea was to replace existing LED floor ramps with ARRI

PAX LED panels to bring the advanced colour tuning and high quality, fully adjustable white light that PAX is renowned for to the stage.

After successful testing at the Vienna State

Opera where 6 PAX LED panels worked together in a footlight-style arrangement with an integrated floor ramp, the decision was made to build a new fixture design containing six PAX panels (48 LEO light engines in total!). The first prototype was ready for testing in the middle of June and revealed how powerful the concept would be. The installation at the Vienna State Opera is equipped with eight of the new LEO Blast

48 floor ramps, installed right at the very front edge of the stage. Tilting floor chambers recess the panels into the stage floor and allow the floor ramps to disappear when not needed. A sophisticated control system that incorporates DMX-interfacing and an

ARRI custom-designed power unit provide the necessary technology and reliability for this high profile application.

More information and pictures can be found at

Timo Müller

Franz Dubrava (left) and Werner Wolf (both LB-electronics) installing the PAX system

Installation at the Vienna State Opera House

3 4 L i g h t i n g

May 2009 saw the release of ARRI’s latest LED lighting products, the PAX Panel Kits. Available in two configurations, PAX


and PAX


, the kits fit inside a small carry case and offer an extremely versatile lighting solution, especially useful for cramped sets, remote locations and fast-moving productions. As part of the extensive research and development of the PAX kits, prototype units were supplied to key individuals and companies for field-testing and feedback. One such beta tester was Sue Gibson, President of the BSC, who was lent an

ARRI PAX LED kit by ARRI Lighting Rental in London.

ARRI PAX a lot of LED punch

“I first used it back in September 2008,” says Gibson. “I was working on a low budget feature called


. We were going to Jordan to shoot in the desert and I knew that we’d be an hour and a half’s journey from Petra, through the mountains. One of the shots that we had to do was of two cars driving through the desert at magic hour, and it needed to cut in with footage I’d already shot in England of characters talking in a car once it has stopped.

I was wondering how to do it because I knew we wanted to get the shot in one and we’d be losing the light.”

In order to light the car interior, Gibson used just one of the battery-powered PAX panels, which measure 8 x 16cm and contain an array of eight multi-chip LED modules.

“I needed something that was portable, that could be charged from the car battery and that allowed me to select whatever diffusion

I wanted,” she continues. “The PAX Panel Kit worked absolutely perfectly; you can dial in any colour gel you want and it’s wirelessly remote controlled, so I could stand by the camera and adjust the colour and the dimmer as the light was going. I didn’t have a gaffer, I was a one-man band, but it was simply a question of flipping down the glove- box door and resting the LED panel on that.

It worked a treat and I was delighted.” the performers could play off one another.

They were sitting side by side, 10 feet apart, and we wanted to move the camera as much as we could around them. This meant that my key light couldn’t be very close to them and I knew that I needed something else just to get some light in their eyes and give myself a sense of security.”

Gibson used two PAX panels, one for each performer, and mounted them on small stands so they could easily be moved for different setups. The performance involved various lighting changes, which Gibson was able to match by punching in different gel settings with the wireless remote control unit. “All the different gel swatch books are in there,” she says. “It can be daylight, tungsten; it can be any colour you like and there’s no light loss with the gels – the output stays the same.”

ARRI Lighting Rental also provided the other lights Gibson used for the shoot, to which the PAX kit could be matched quickly and easily. “I used the Chimera with an egg crate because I was in a black studio and needed a soft light that would fall off to black quite quickly,” she says. “I was able to look at whatever quality of light was coming out of the Chimera and change the

LED kit accordingly.”

The second shoot on which Gibson used the PAX kit was a performance in London of John Caird’s


show, featuring the musician Sting and his wife Trudie Styler.

“The brief was that it had to cut in with footage from a previous live performance,” she explains. “There was no audience and I had quite a controlled environment, but we needed to shoot it as ‘live’ as possible so

Mark Hope-Jones

L i g h t i n g 3 5

ARRI lamps used for stills photography at Haymarket Studios

Haymarket Studios in West London is part of the Haymarket Consumer Media Group, the largest privately owned magazine publisher in the UK. After developing successful business publications in the 1960s, Haymarket moved into consumer and motoring magazines over the following decades; key titles currently include Autocar, Autosport,

F1 Racing, FourFourTwo, Stuff and What

Car. With so many magazines requiring a constant supply of images, the company acquired Teddington Studios by the River

Thames and established Haymarket Studios.

ARRI (GB) supplied a full lighting kit to the facility, incorporating 5k, 2k and 1k ARRI

Studio lampheads as well as a range of cables, boxes and grip equipment.

“We have two coved studios,” says Studio

Manager Peter Spinney. “We mainly do car-based work in the big studio and portraiture or product-based work in the smaller one. Although the studios were primarily set up for Haymarket’s business needs, we’re now looking to push them as a resource for external clients, photographers and production companies. Predominantly it is stills work, but we’ve done some greenscreen filming and we do all our podcast filming for the and WhatHiFi.

com websites here. We also had some outside production companies coming in to do web-related and other product-based filming.”

The studios are equipped with flash lighting units as well as the ARRI fixtures, though it is the ARRI lamps that are generally used on motoring shoots and for filming. “Continuous lighting has been used for car photography for many years,” continues Peter.

”We spec’d our studio in accordance with what we were using before we had our own facility. On a car shoot we tend to reflect the tungsten light off the studio coving to highlight the design of the car and make it look as good as possible. Continuous lighting is fantastic for shaping the light and seeing how an object comes to life.

New HMI and LED technologies are also being used more and more in the industry, so we’re interested in using that as well.”

All of the lights in the studios are floormounted on stands and various other forms of grip equipment, rather than suspended from a ceiling grid. This arrangement is extremely flexible and allows Haymarket

Studios to accommodate a huge variety of lighting setups. “We’ve done a whole host of things in these studios since we opened,” says Peter. “We’ve shot a lot of the top road cars, did an ad campaign with Michael

Schumacher for Bacardi and photographed the JCB Dieselmax land speed car, which was 9.5m long and went on to break the diesel land speed record in 2006. In fact we’ve lit and shot every type of vehicle, from recent Formula One cars to classic

Bugattis worth a million pounds.”

All Haymarket Studios details can be found at

Mark Hope-Jones

3 6 L i g h t i n g

Frequently Asked Questions

For The M18, AS18

& EB 1200/1800

Fresh off the success of the prestigious DV Magazine Black Diamond

Award at NAB 2009, the AS18 has been recognized for groundbreaking design along with its powerful yet convenient illumination. With this strong interest in these lighting tools we have come across similar questions from those interested in the new technology. ARRI has prepared this handy Frequntly Asked Questions (FAQ) for the M18, the award-winning AS18 fixture and the EB1200/1800W ballast.

How did ARRI achieve this new 1800W daylight system?

Because of many requests from our customers we wanted to offer a brighter alternative to the AS12 that you could still plug into a normal 20amp (120V) household circuit. Up until now, this was not possible because the next higher wattage was 2.5k, which required a generator or other power source. Because of new ballast technology we were able to go to a maximum of

1800W and still keep the current draw


That is amazing capability for the U.S. – but for Europe and Asia, what are the benefits?

The lamp manufacturers, for example OS-

RAM and GE/KOTO, managed to design and build an 1800W metal halide light source within the same dimensions as their current 1200W lamps. Because the size was comparable to the 1200W lamp, ARRI was able to design a lamp head that was comparable in size to the existing AS12 lamp head (actually a bit smaller and lighter). So the benefit for all markets is a lamp head no bigger than a 1200W with

70% more light output.

Is the M18 an ARRIMAX or a TRUE BLUE?

It is actually both; ARRI has incorporated both the ARRIMAX reflector technology and most of the attributes of the new TRUE

BLUE line of fixtures such as cross cooling, smooth modern housing design and the new disk brake system for positive stirrup lock. With the ARRIMAX reflector design it allows the user to vary the beam angle between 20° (spot) to 60° (flood) with very high optical efficiency throughout. This eliminates the need for spread lenses and gives the user a much improved shadow quality.

Why did ARRI create an ARRISUN-style lamp head with the AS18?

We decided to give our customers a choice.

For those that want a tighter beam angle or just the look of a conventional PAR, we created the AS18. We also designed the fixture so most of the AS12 accessories

(lenses, barn doors and head/ballast cables) could be used with the AS18 fixture. It is also fairly simple to change the fixture from the M18 to AS18 or AS18 to M18 configuration by changing the reflector, accessory brackets and top latch.

Can I also use a 1200W metal halide lamp?

Because the ballast that was designed for the AS18 and M18 is dual wattage (1200/

1800W) you can use either a 1200W or

1800W lamp in the fixtures. When the ignition sequence begins the ballast always starts at 1200W; if there is a 1200W lamp used, the ballast will sense only that voltage and stay at 1200W. However, if you are using the new 1800W lamp the ballast will build to a voltage switchover point where it will sense the 1800W lamp and switch to the proper output for 1800W (indicated by

LEDs on the front of the ballast).

L i g h t i n g 3 7

Does the EB 1200/1800 have

Active Line Filter?

Yes. ALF is one of the main reasons that we are able to limit the current draw and make the ballast so energy efficient. ALF contributes to a more efficient use of power by eliminating the phase shift between voltage and current wave form. As a result, the required apparent power is reduced to a minimum.

What are the new features in the ballast EB 1200/1800?

There are many new features in the 1200/

1800W ballast. One of the main improvements is what we call CCL, which is short for Compensation of Cable Losses. CCL ensures that the light source always receives the full power of 1800W even if your extension cable is extended very long. For 220V operation you can extend the cable up to a length of 100m (300’) and your M18 is as bright as he would be with a 7m cable.

For 120V operation, the current draw is limited to 19.5amps to eliminate nuisance tripping. If you extend the cable up to 100’ you have the effect that M18 or AS18 is not less bright as he would be with a 20’ cable.

M18 or AS18, which is better?

This is a matter of choice; some people will embrace the look, ease of use (no lenses) and shadow quality of the M18 with a focal range of 20° to 60°, while others will want the look and wider focal range of 6° to 65° utilizing the choice of five different spread lenses. The optical performance of the M18 is a little better from 20° to 40° but pretty equal after that. Also keep in mind that you will get a very different look from one to the other. The light field of the M18 never changes, only the intensity of the beam.

With the AS18 the light field is changed as you change spread lenses, giving you a more controllable light source.

When will the M18, AS18 and EB 1200/1800 be available?

Beginning of September 2009.

Stefan Schmidt


C U S T o M E R R E A C T I o N S


The debut of the M18, AS18 and 1200/

1800W ballast at NAB 2009 was an overwhelming success. Everyone who saw these new products has only positive things to say about the concept and design features.

The actual choice of an 1800W fixture was applauded as a “no brainer” and the fact that ARRI offers it in two different configu- rations was just that much better. Everyone agreed the follow-up to the extremely successful ARRIMAX 12/18k with a fixture that fulfilled a need in a smaller wattage range and could be plugged into a normal household outlet was just what the industry needed.

Immediately following NAB, ARRI representatives Stefan Schmidt and Mike Jones had a chance to visit gaffer Michael Bauman on the set of IRONMAN 2 in Hollywood to demonstrate the new M18 and AS18 systems. Bauman was the first gaffer to use the

ARRIMAX 12/18k on the set of MUNICH shot in Budapest 2006 and one of the first people to see all of the advantages of the

ARRIMAX reflector technology. Because of this, his feedback was key to the success of this product. Bauman had nothing but positive comments about the fixture; he was very impressed about the output, shadow quality and overall look. He was so im-

Jim Rosenthal

pressed that he has already placed orders for both the AS18 and M18. He ordered both because in his and his partner’s (gaffer

Jon Tower) words, “We can see different applications for both.”

Before returning the prototype fixtures to

Germany it was also shown to Jim Rosenthal, a key rental house owner (The Rosenthal Group) in southern California; Jim was one of the first people to purchase the

ARRIMAX 12/18k systems and currently owns six. Because Jim has a keen eye for new products with great rental potential,

ARRI wanted him to be one of the first to

EB 1200/1800

see these exciting new products. As with everyone else all comments were positive; he loved the concept of the 1800W systems, the fact that ARRI incorporated many of the TRUE BLUE features and that you can change the fixtures from an M18 to an

AS18 and vice versa by simply changing the reflector, accessory brackets and top latch. He also liked the fact that all of his existing ARRISUN 1200W accessories

(barndoors, lenses and head/ballast cables) were compatible with the new fixtures. He currently has six AS18 Systems on order along with six changeover kits to M18.

An Tran/Mike Jones

3 8 L i g h t i n g

CABSAT 2009 in Dubai

Al Watan TV in Kuwait

At this year’s CABSAT, the leading electronic media and communications event in the

Middle East, ARRI presented its latest technologies to a fast-evolving market. Lighting and camera specialists of the area are increasingly interested in ARRI products and services, which have now been utilised on a large number of successful projects in the region.

ward tilting caused by heavy, front-mounted accessories. Improved barndoors, easy maintenance and more than 30 other design improvements clearly illustrate the innovative features and creative potential of the new series.

ARRI’s clients in the territory include Al

Jazeera International in Qatar, Dubai TV,

TAJ TV, Lootah Media & Broadcast in Dubai,

Baynounah Media in Abu Dhabi and Al

Watan TV in Kuwait. The key to this success story has been innovative and competitively priced studio lighting solutions as well as a network of competent partners in Dubai and

Qatar, such as the system integrators Salam

Media Cast, Newtech International, Martin

Middle East and Amaranthine.

Visitors to the ARRI stand also took the opportunity to test drive the ARRIFLEX 416 plus HS, along with the new Professional

Camera Accessories. At the Amaranthine booth Fariborz Kamrani was able to demonstrate the ARRIFLEX D-21 equipped with Master Prime lenses, recording onto an S.two and demonstrating an appropriate workflow. This was continued after the show with a two-day workshop at the premises of Amaranthine. Frank van Vught presented two very well received sessions about RAW data workflows for the ARRI-

FLEX D-21.

The new True Blue series was the centre of interest at the ARRI booth in the Zabeel Hall.

In a region renowned for searing desert heat, the new cross cooling system of the

True Blues offers decisive advantages because it reduces both bulb and housing temperatures. The centre adjustment of the stirrup allows for precise balancing at the tilt lock – with or without accessories. An improved tilt lock prevents unwanted for-

Showcasing 660 exhibitors over an area of some 26,000 m


, CABSAT 2009 was about

10% larger than last year’s event. Among the exhibitors were 60 first-time attendees, which is a clear sign of the potential for growth in this area.

Norbert Wunderlich

L i g h t i n g 3 9

Workshop for distributors at

ARRI Lighting


S h ow t e ch B e r l i n

Showtech, the international fair for event technologies and services, takes place every two years in the expo area beneath Berlin’s famous old Radio Tower. This year, ARRI was able to display a very prestigious item on their booth – a Scientific and Technical

Achievement Award that was awarded earlier this year by the Academy of Motion

Picture Arts and Sciences for the development of the ARRIMAX 18/12. The award-winning technologies on the ARRI booth attracted many visitors, all of whom were surprised by the sheer number of new products on offer: in fact, never before had so many lighting innovations been presented by ARRI at this show.

nical features, and the new EB 6000 (2.5/

4/6kW) in the housing of a 2.5/4kW ballast were also presented at the fair. “We have paid close attention to customer comments and the needs of the field,” says Stefan Schmidt,

ARRI’s Product Manager for daylight fixtures.

“This has resulted in very rugged products that offer high performance at prices that have remained stable for years; this is what we call ‘innovation included’.”

Timo Müller, Product Manager of ARRI’s line of LED systems, was very pleased about the great interest in the new ranges of the PAX and Caster series: “professionals were positively surprised by the competitive prices of the Caster series,” he comments.

For the first time in Europe the entire product line of the new ARRI True Blues was on display; not only were the tungsten and daylight series present, but also the new True Blue theatre luminaires. Another clear focus of interest was the BabyMax M18, which with its 1,800W bulb and high output reflector continues the family tradition of its ‘daddy’, the ARRIMAX. The difference is that the M18 can be operated from almost any household power socket, making it extremely convenient.

The studio area was a perfect playground in which to demonstrate all aspects of ARRI lighting as a complete system. True Blue poleoperated tungsten lights and ARRI Cool lights with suspension systems (ARRI Telescope and

Scenery Hoist) were rigged up with a lighting control and dimmer system (Ion Console and

Sensor dimmer by ETC). In addition, up-todate network solutions for TV studio lighting control systems were shown. As an impressive background illumination, the ARRI LED wall was also integrated into this system.

The new ARRISUN 18, a universal electronic

1200/1800W ballast with interesting tech-

Norbert Wunderlich

Stefan Schmidt talking about the True Blue series

A day before Showtech opened its doors, distributors and system integrators attended a workshop at the premises of ARRI

Lighting Solutions in Berlin. Sigrid Müller,

Managing Director of ARRI Lighting

Solutions, concluded the meeting and presented the attendees with a certificate. The most successful dealers of

2008 were additionally awarded with a ‘Buddy Bear’ – a very typical Berlin symbol and an ambassador for optimism.

This could as easily be related to the atmosphere of the subsequent show as to the workshop.

Timo Müller at the workshop

4 0 L i g h t i n g

Mark-II moves to New Premises

ARRI‘s Representative in Almat y, Kazakhstan

New SAT.1 TV Studio in Berlin

ARRI True Blue tungsten series perfectly matches HD production environment dimmer system is now installed directly to the suspension system. All of this results in a flexible, effective production environment that offers a highly dynamic system with more precision and faster setup times for a wide variety of productions.

The infrastructure is rounded up by a new

ACN network system (ETC NET3) that easily integrates a 300m


RGB backlight wall into its comprehensive control. The studio is equipped with about 100 ARRI tungsten lights, including 70 units of the new ARRI

True Blue series. These state-of-the-art fixtures perfectly meet the need for high quality and high light output in an ultra-modern

HD studio.

SAT.1 "Frühstücksfernsehen" (morning show)

Berlin’s creative and media centre is a very attractive and urban area, located on the river Spree by the appropriately named

‘television dock’ (Fernsehwerft). ARRI Lighting Solutions has designed and equipped two TV studios at this location, each featuring a wealth of new possibilities in lighting design. One of them is a 400m


studio that was taken over by the privately owned

SAT.1 TV network in early 2009.

“We are very glad to see that our major formats like the SAT.1 morning show, called


, can now be produced in the capital,” says Managing Director

Michael Förster. “Berlin is setting standards and so is our new studio – especially with respect to a technically advanced and costeffective production environment. This is why ARRI Lighting Solution’s concept convinced us right from the start.”

Of particular importance to the new operator was the flexible grid and power rail system. Thoughtfully-combined rail pairs offer a maximum of freedom in positioning the lighting fixtures horizontally and vertically, while the custom-designed track system now transmits DMX signals. Labour-intensive changes of DMX and power supply cables are no longer necessary, as the

SAT.1 belongs to the ProSieben SAT.1

Media AG, which also owns the channels of kabel eins and N24, making it the second largest TV group in Europe. It was SAT.1 that initiated the era of private television in

Germany in 1984, just a day before the launch of RTL plus. Since 1996, SAT.1 has also been on the internet, and was one of the first German TV channels to make that step.

Norbert Wunderlich/Frank Schlammer

For many years ARRI has taken great interest in the regions of Central Asia with it’s contrasting landscapes and rich cinematic traditions. Initially, as member of the company pool of the German

Chamber of Commerce in Kazakhstan, we received excellent support from the local representative office (AHK-DIHK) under the direction of Dr. Shinusalijeva.

We are extremely pleased to have found a competent and professional partner in Mark-II Productions capable of representing our interests in all of

Central Asia. For four of those years,

Mark-II Productions has represented

ARRI and is pleased to announce their move to their new premises in the heart of the city of Almaty.

Having a permanent local presence in such a large territory is of great importance to

ARRI and is proving to be a great platform to offer the industry the latest film and digital technologies. It also provides a great opportunity to host seminars and training workshops for local filmmakers.

Recognising the local wealth of creativity in the craft of filmmaking, ARRI introduced a special award for “Best Cinematography“

Thomas Popp presenting the ARRI Award for Best

Cinematography to Oleg Sapharaliev

W o r l d w i d e 41

Mark-II moves to New Premises

ARRI‘s Representative in Almat y, Kazakhstan

supporting The International Film Festival. Many local film projects have been made in direct cooperation with various ARRI departments such as


all using the ARRI Lab facilities. Cosmos Art project;


produced by Askar Sembinwas is a perfect example, where the DI process and Dolby Sound mixing took place at ARRI Munich.

Inter Cinema recently commenced its third project under the working title acquisitions.

LAST LOVE which will be shot with the very first ARRICAM System in the region and now Sergey Azimov and

Iliyas Iskakov are already planning new

CINEALLIANCE in Baku, an experienced production and post production facility in Azerbaijan is actively using ARRIFLEX 435 for projects. Aliaga Mammadov, CEO Cinealliance, a talented artist and knowledgeable technician along with Gusein Guseinov and

Ruslan Akmanov are exploring digital opportunities but still recognise the wonderful image quality that film can achieve. “Like a master craftsman weaving various colours in an Azeri carpet, filmmakers use their skills to choose the latest film and or digital technologies to realise their creative vision with regards to each specific project” – Aliaga Mammadov says.

D-21 Shoots in Azerbaijan

Recently, the very first 2k RAW data digital production was managed in Azerbaijan by

Israfil Agazadeh and his Baquan Cinema

Company. A documentary about Azerbaijan history was initiated by The Ministry of Foreign Affairs and was shot with an ARRIXLEX

D-21 using an S.two Recorder, demonstrating unsurpassable image quality and superior dynamic range of the Azeri Scenery. The look and mood was obtained using the special ARRIRAW features and proved incredibly flexible in post production and grading. Both the camera and recorder performed well even in the most gruelling temperatures, while shooting took place in different regions of the country. A graduate from Moscow Film School,

VGIK Israfil Agazadeh had been accustomed to shooting film and therefore found the optical viewfinder and traditional accessories range made his step into the digital world an easy and comfortable transition.

Mark-II /

ARRI Representative

Office in Central Asia:

Zheltoksan Str., 87

05000, Almaty

Phone: +7 727 279 99 48, Fax: +7 727 279 16 37 in the near future, which will include taking supply of ARRIFLEX 235, ARRIFLEX 416 Plus, the ARRICAM system and ARRISCANs, and

ARRILASERs production and post production tools and archive restoration technology. A comprehensive training program will help technicians at differing levels to broaden their technical knowledge and expertise.

Active preparations for the new set of seminars and master classes in Uzbekistan are now underway, organised and planned by

Uzbekfilm Managing Director, Sergey Kim.

Kazakhfilm Studio Invests in ARRI Equipment

So far this year Kazakhfilm Studio has purchased an ARRISCAN and ARRILASER along with ARRIFLEX 435 Xtreme and ARRIFLEX 235 cameras and ARRI lighting equipment for studios.

There are exciting production plans in place and ARRI is at hand to support them with regards to service. The ARRISCAN and ARRILASER will ensure a fast link between analogue and digital realities in overall studio workflow.

An impressive three step restructuring program of Azerbaijan National Film Studio is planned

ARRI Sales Director Thomas Popp summarizes,

“Central Asia continues to offer new and exciting opportunities for ARRI. Our innovative expertise and the region’s film makers artistic and technical skills makes for a great combination. Supported by our representatives,

Mark-II Productions and their commitment to the industry, ensures the region is positioned well and has the best tools, film or digital, to create high quality images for a wide audience“.

Alex Berkovitch

On location in Azerbaijan with the


Aliaga Mammadov (on the left side from the


DoP Pavel Kazakov at the seminar in Almaty 2009

4 2 W o r l d w i d e

llumination Dynamics Impresses with New LA Facility


IIllumination Dynamics (ID) has moved to an impressive new San Fernando, Calif. location in the greater Los Angeles area that features easy access, ample space and thoughtful amenities for production crew. With 70,000 square feet of warehouse space to house ID’s expanding inventory of state-of-the-art motion picture lighting and grip, automated and theatrical lighting,

HVAC equipment and expendables, the company is able to offer improved working environment, equipment accessibility and customer service.

In addition to doubling the warehouse space, ID provides

11,000 square feet of air-conditioned offices, repair, conference, and demo rooms – including separate production crew offices with useful telephone and wi-fi internet connectivity. Repair facilities offer excellent maintenance in-house as well as equipment servicing for outside customers. Dedicated entries and spacious loading docks for each department facilitate easy equipment pickup and return.

Now that the facility is fully up and running, customers continue to praise the expansion, making ID yet another stellar facility in the ARRI Rental Group.

Ample space and equipment at ID's new facility.

ARRI CSC, the largest full service rental group in the United States, has relocated its acclaimed New

York camera rental department to a custom-designed facility in

Secaucus, New Jersey. At 36,000 sq. ft, the new department represents an expansion of over 50%.

In doing so, ARRI CSC reunites the camera department with its lighting and grip division.

ARRI CSC Relocates and Expands

New York Camera Rental House

The enhanced camera department is setting a new standard for camera rental with multiple camera check out bays and four dedicated testing rooms surrounded by optical, mechanical, digital and technical support departments – all on one ground floor level.

Fifteen minutes from Manhattan, the Secaucus location allows ARRI CSC to provide parking for over 70 vehicles and takes advantage of the extensive local transportation network for those who choose not to drive.

ARRI CSC continues to offer the level of service for which it is renowned. As well as the ultimate range of ARRI products for rental whether film, digital or lighting, their extensive inventory includes grip equipment,

Super Techno camera cranes, Hydroflex underwater products and a comprehensive fleet of customized location vehicles.


W o r l d w i d e 4 3

4 4 W o r l d w i d e

Munich's Filmfestival 2009

Marcelo Lavintman (



Katja Nicodemus (Jury), Prof. Franz Kraus (ARRI) and

Dr. Winfried Scherle (ZEISS)

At this year’s Munich Film Festival the ARRI-ZEISS award was presented to the best foreign film for the second time. The prize- winner is the Argentinian feature


, produced by Juan Villegas and Inés Gamarci. The ARRI-ZEISS Award is intended as a producer prize, because the prize money of 50,0000 € is aimed at directly funding future film projects. ARRI Senior Executive

Prof. Franz Kraus and Dr. Winfried Scherle, General Manager & Vice

President of the Camera Lens Division, Carl Zeiss AG, presented the

Lion Statuette to the DoP Marcelo Lavintman, ADF.

ARRI-ZEISS Award goes to


Marcelo Lavintman on location with the 16SR II

Director Celina Murga and Marcelo Lavintman

(f.l.t.r.) DoP Marcelo Lavintman (


), director Michael Haneke (CineMerit Award), Frazer

Bradshaw (CineVision Award for



) and Andreas Ströhl (director of the





was directed by Celina

Murga, who gave her debut in 2003 with the feature film


. Her work is strongly influenced by the tradition of European cinema and especially by

French films.


was chosen by unanimous decision of the jury, who explained their decision as follows: “In her second film


, Celina

Murga has succeeded in creating a concentrated and exemplary social portrait.

Telling the story of a group of privileged children who have been left alone in the confines of their luxurious suburban homes for a week without their parents, the film manages to touch on the relevant topics of our time: class conflicts, the imbalance between rich and poor, the exclusion of those who apparently do not conform. With precisely orchestrated group scenes the young director portrays the world of the children with all its tedium and boredom.”


ANA SOLOS is a challenge in the best sense of the word. A film that not only tells us of an unjust world, but describes how we create it day by day.

During a short visit to Munich to accept the prize, DoP Marcelo Lavintman, ADF, took the time to visit the ARRI facilites in the Türkenstrasse and share his thoughts with us.

First of all we would like to congratulate you for the excellent cinematography on


Marcelo Lavintman: Thank you! I’m glad that an independent Argentinean film has received this level of international acclaim.

What capture format did you use for the film and what were the reasons for the choice?



was shot in Super

16 with an ARRIFLEX SR II camera. Being an independent production with a rather limited budget, 35mm film was not really an option. Still, it was important for me to go for film. The story plays in a very classy gated community where the houses have large picture windows. Since the location played an important part in the story, we had to make sure that the view out the windows gave the correct impression of an up-scale community with wide streets and well-kept lawns. Film was really the only possibility of capturing the wide exposure latitude, at

W o r l d w i d e 4 5

General Manager and Head of Global Sales and Marketing

ARRI-ZEISS Award goes to


Children between 7 and 14 years old are left alone for one week in a house of a countryside neigbourhood.

least when we shot the movie two years ago. I know progress has been made with digital cameras since then, but from what I had seen at the time, I would have been afraid of the windows blowing out on me with a digital.

What did you think about the results on the big screen?

ML: Of course you know that it is not 35mm film but for me that is an important part of the film look. It’s part of what makes film seem more alive than video.

Which film stocks did you use?

ML: Most of the film was shot on Kodak

Vision 250D negative, even when we were using tungsten lighting. In those cases, I chose not to use a conversion filter to avoid loosing light. We adjusted the colour later in post production.

Could you describe the post production process for us?

ML: We did an HD telecine transfer and did the colour correction on the digital intermediate. For the cinema, we filmed out to 35mm.

What are your next projects?

ML: I will shortly begin shooting a film about a truck driver from Paraguay. The interesting thing is that the lead role will not be played by an actor but by an actual truck driver.

We look forward to it. Thank you, Marcelo.

Michael Koppetz/Marita Müller

As from 1 st

August, Stephan Schenk joined ARRI as new General Manager and Head of Global Sales and Marketing for the newly established Business Unit

Camera & Digital Intermediate Systems which he will lead together with Walter

Trauninger. Stephan Schenk has a diploma in Industrial Engineering and brings with him over 15 years experience in Sales and

Marketing. In various positions ranging from Product Manager to Managing

Director as well as a Senior Strategy Consultant, he has gained management experience in the fields of high tech industrial goods of globally acting companies.

"Only few companies are offering a profile like ARRI: renowned customers around the world, cutting edge and multi-award- winning-products, employees with outstanding know-how, and one of the strongest brands in the industry. Thereby the point in time of joining ARRI couldn't be more exciting than now. The market is changing and we therefore will have to listen to the customer's needs very carefully.

We will accept the challenge to maintain

ARRI as the self-evident choice of our customers for Camera and DI Systems including the professional accessories and services, no matter whether the customer chooses film or digital solutions. I am looking forward to my new tasks and the challenges at ARRI which we will meet together as a team." email:[email protected]

4 6 S e r v i c e s

Title Production Company Director DoP












TV60Film Wolfram Paulus Dragan Rogulj

Claussen+Wöbke+Putz Filmproduktion Matti Geschonneck

Fox TV

Constantin TV

Jeffrey Nachmanoff

Andreas Senn


UFA Cinema

Mike Marzuk

Granz Henman

ABC Studio

Rat Pack Filmproduktion

Martin Langer

James Whitaker

Markus Hausen

Bernhard Jasper

Jörg Widmer

Ulrich König Ludwig Franz

Cyrill Boss & Philip Stennert Torsten Breuer

Perathon Film

Drimtim Entertainment collina Filmproduktion

Joseph Vilsmaier

Steve Shill

Ute Wieland

Helmfried Kober,

Peter von Haller

Ousama Rawi

Peter Przybylski
















Production Company

Point Productions Ltd

McPhee Farmyard Productions

More Mayhem Ltd

Ruby Fims Ltd

London Boulevard Ltd



La Plante Productions Ltd

ITV Studios

The Mob Film Co

New Boots and Panties Ltd

DNA Films


Director DoP

Ricky Gervais /

Stephen Merchant

Susanna White

Oliver Parker /

Barnaby Thompson

Hideo Nakata

William Monahan

Patrick Lau

Jamie Payne / David Evans

Gillies MacKinnon

Brendan Maher

Jon Jones

Mat Whitecross

Mark Romanek

Jim O‘Hanlon

Remi Adefarasin BSC

Mike Eley

David Higgs BSC

Benoît Delhomme

Chris Menges BSC

Mark Partridge

Alan Almond BSC

Fabian Wagner

Nigel Willoughby

Jan Jonaeus

Gavin Finney BSC

Brian Tufano BSC/

Christopher Ross

Adam Kimmel

Adam Suschitsky


ARRIFLEX 416 Plus, Zeiss Ultra 16,

Lighting, Grip



Lighting, Grip



Ultra Primes, Grip



ARRIFLEX 16SR3, Zeiss Ultra 16,

Lighting, Grip


Lighting, Grip


Master Primes, Lighting, Grip


ARRIFLEX 235,Lighting, Grip


Master Primes, Lighting, Grip


3-Perforation ARRICAM ST/LT, Ultra Primes

3-Perforation ARRICAM ST/LT,

Master Primes, Grip

3-Perforation ARRICAM ST/LT, Grip

3-Perforation ARRICAM ST/LT,

Master Primes, Grip

3-Perforation ARRICAM ST/LT,

Master Primes




ARRIFLEX D-21, Ultra Primes, Grip


ARRIFLEX 416, Zeiss Primes, Grip

3-Perforation ARRICAM ST/LT,


2-Perforation ARRICAM ST/LT, Grip
















Production Company

Fox UK Productions Ltd.

Point Productions

McPhee Farmyard Productions

More Mayham Ltd.

We Want S Ltd.




DNA Films

New Boots and Panties Ltd

Trilogy Films Ltd.

Kudos (Spooks Ltd)


Theater Release







Innocence Productions

Constantin Film Produktion

BKM Film

Rat Pack Filmproduktion

Westside Filmproduktion


Director Dop

Rob Letterman

Ricky Gervais/Stephen Merchant

David Tattersall BSC

Remi Adefarasin BSC

Susanna White Mike Eley

Oliver Parker/Barnaby Thompson David Higgs BSC

Nigel Cole

Patrick Lau

Simon Curtis

Jim O'Hanlon

Mark Romanek

Mat Whitecross

Richard Loncraine

Alrick Riley

Yann Demange/Marc Jobst

John de Borman BSC

Mark Partridge

Ben Smithard

Adam Suschitsky

Adam Kimmel

Brian Tufano BSC/

Christopher Ross

Barry Ackroyd BSC

James Welland

Tat Radcliffe

Gaffer Best Boy

Eddie Knight

Jimmy Wilson

Paul Murphy

Dan Fontaine

John Colley

Kenny Sykes

Mark Clayton

Alex Scott

John Colley

Julian White/Rob Pie

Harry Wiggins

Chris Bird

Mark Taylor

Stuart Montieth

Stewart King

Mark Funnell

Andy Bell

Kevin Fitzpatrick

Craig Hudson

Benny Harper



Vince Madden

Chris Mortley

Toby Flesher

Lawrence Duffy

DVD/ TV Release


Lisa Film / Post One



Lisa Film / Post One

Phoebus Film


Sunset Austria



S e r v i c e s 4 7

Title Production Company DP / Lighting Director Gaffer




Columbia Pictures Oliver Bokelberg

TVM Productions / USA Network William Wages ASC

Warner Bros. David Klein





20th Century Fox

Dimension Films


Rum Diary Productions LLC



Mark Burnett Productions

Incantation/ Disney


Brillstein Ent./ Spike TV

Dean Semler ASC

Brandon Trost

Russell Carpenter ASC

Dariusz Wolski ASC

Oscar Dominquez

Bojan Bazelli ASC

John Meyer

Gene Engles

Greg Quinlan

John Velez

Justin Duval

Darren Langer

Mike Gallart

Blair Korbel

Equipment Supplied

ARRICAM LT 3-Perforation, Lighting


Zeiss Ultra Primes

ARRICAM ST/LT 3-Perforation, Lighting








Dynamics NC

ARRIFLEX D-21, S-Two data recording,


ARRIFLEX 416, ARRIFLEX 16SR 3, Zeiss Ultra Primes ARRI CSC FL

Automated Lighting


Master Prime lenses

Automated & Conventional Lighting


Dynamics LA



Dynamics LA

Title Production Company Director






Innocence Productions

Egoli Tossell Film

Neue Bioskop Film

Semih Kaplanoglu

Tony Goldwyn

David Pinillos

Wolfgang Panzer



Constantin Film Produktion collina Filmproduktion

Leander Haußmann

Ute Wieland


Wiedemann & Berg Filmproduktion Markus Goller


Bluverde F.V.T. Produktionsgesellschaft Angelo Colagrossi






UFA Cinema

Zeitsprung Entertainment

Constantin Film Produktion

Yilmaz Erdogan

Granz Henman

Stefanie Sycholt

Uli Edel


Baris Özbicer

Adriano Goldman

Aitor Mantxola

Edwin Horak

Hagen Bogdanski

Peter Przybylski

Ueli Steiger

Frank Grunert

Ugur Icbak

Jörg Widmer

Egon Werdin

Rainer Klausmann

Customer Title

Sony Ericsson

Chupa Chups











Stadt München

OPER FILMSTADT MüNCHEN easyCredit TeamBank AG Nürnberg





Molkerei Weihenstephan

McDonald's Deutschland Inc.






Süddeutsche Zeitung











TBWA Düsseldorf

Heye & Partner

Heye & Partner


Heye & Partner


Serviceplan Dritte


Heye & Partner

PLAN.NET Concept

Zweite /Neverest


Heye & Partner

Production Company

e+p commercial Filmproduktion

GAP Films e+p commercial Filmproduktion e+p commercial Filmproduktion


Helliventures cream film productions / München e+p commercial Filmproduktion

Neue Sentimental Film


Hager Moss Commercial e+p commercial Filmproduktion made in munich filmproduktion lucie_p

Director Camera

Hauke Hilberg Carlo Jelavic

The Perlorian Brothers Brendan Steacy diverse

Claude Mougin diverse

Thomas Kürzl

Peter Macherlett MVG

& Lili Clemens

Damian John Harper Dieter Deventer

Eva Zillekens

Florian Seidel

Marco Schmidt Polex

Grant Appleton

Matthias Bierer

Martin Haerlin

Patrick Senn

Ben Hartenstein

Manuel Werner

Tony Mitchell

Sven Lützenkirchen

Marc Achenbach

Christian Rein

Daniel Gottschalk/

Mark Rogoll















Production Company Director DoP

Egoli Tossell Film München David Pinillos

Claussen+Wöbke+Putz Filmproduktion Matti Geschonneck

Constantin Filmproduktion

Constantin Television

Wiedeman & Berg Filmproduktion

Roxy Film

Leander Haußmann

Peter Keglevic

Marcus Goller

Dagmar Hirtz

Aitor Mantxola

Martin Langer

Theo Bierkens

Ueli Steiger

Jo Heim

Ziegler Film

MOOVIE - the art of entertainment

Jo Baier Gernot Roll

Doris Dörrie, and others Hanno Lenz

Claussen+Wöbke+Putz Filmproduktion Neele Leana Vollmar Torsten Breuer

Constantin Film Produktion Sönke Wortmann Tom Fährmann

Constantin Film Produktion Christian Alvart Wedigo v. Schultzendorff

Sunset Austria

Rüdiger Heinze Filmproduktion

Xaver Schwarzenberger Xaver Schwarzenberger

Michael Dreher Ian Blumers


VFX, DI, Titles



VFX, Titles


VFX add. VFX, DI



VFX, DI, Titles

Digital Optical Effects, DI, Titles



Key Contacts

P roduct Sales

ARRI Cine Technik

Business Unit Camera, DIS

Stephan Schenk

+49 - (0) 89 - 38 09 - 1044 [email protected]

ARRI Cine Technik

Business Unit Lighting

ARRI Lighting Solutions

Sigrid Müller

+49 - (0) 30 - 678 23 30 [email protected]

ARRI (GB) Ltd., Renos Louka

+44 - (0) 1 89 54 57 000 [email protected]

ARRI Italia, Antonio Cazzaniga

+39 - 02 - 26 22 71 75 [email protected]

ARRI Inc., USA, Charlie Davidson

+1 - 845 - 353 - 1400 [email protected]

ARRI Canada, Sebastien Laffoux

+1 - 4 16 - 2 55 33 35 [email protected]

ARRI ASIA Ltd., Paul Ivan

+852 2571 6288 [email protected]

ARRI Australia, Stefan Sedlmeier

+ 61 (2) 9855 4300 [email protected]


ARRI Rental Deutschland

Thomas Loher

+49 - (0) 89 - 38 09 - 1440 [email protected]

ARRI Media, Philip Cooper

+44 - (0) 1 89 54 57 100 [email protected]

ARRI Lighting Rental, Tommy Moran

+44 - (0) 1 89 54 57 200 [email protected]


Simon Broad, Hardwrick Johnson

+1 - 212 - 757 - 0906 [email protected] [email protected]

ARRI CSC (FL), Ed Stamm

+ 1 - 954 - 322 - 4545 [email protected]

Illumination Dynamics (LA)

Carly Barber, Maria Carpenter

+ 1 - 818 - 686 - 6400 [email protected] [email protected]

Illumination Dynamics (NC), Jeff Pentek

+1 - 704 - 679 - 9400 [email protected]

Film & TV Services

Key Account: Angela Reedwisch

+49 - (0) 89 - 38 09 - 1574 [email protected]

German Sales: Walter Brus

+49 - (0) 89 - 38 09 - 1772 [email protected]

Lab: Martin Schwertführer

+49 - (0) 89 - 38 09 - 2091 [email protected]

Commercial: Philipp Bartel

+49 - (0) 89 - 38 09 - 1514 [email protected]

Digital Intermediate: Harald Schernthaner

+49 - (0)89 - 3809 - 2002 [email protected]

VFX: Dominik Trimborn

+49 - (0)89 - 3809 - 2073 [email protected]

Sound: Bernd Clauss

+49 - (0) 89 - 38 09 - 1810 [email protected]


GmbH & Co. Betriebs KG

Türkenstr. 89 · D-80799 München phone +49 - (0) 89 - 3809 - 0 fax +49 - (0) 89 - 3809 - 1245

Expo Calendar 2009_2010

These are the most important exhibitions where you can find out about

ARRI products and services


















11 – 15

29 – 31

17 – 20

18 – 20

20 – 22

28 – 05

02 – 04

17 – 19

22 – 25

24 – 27

12 – 15

03 – 06

15 – 18

15 – 18

22 – 24


Broadcast India








Prolight & Sound



Broadcast Asia


Testing Expo











Las Vegas

Los Angeles




Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München

Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Müller

With additional text by: Alex Berkovitch, David Bermbach, Jessica Choy, Michael Cieslinski, Mike Jones, Klaus Jacumet,

Mark Hope-Jones, Dr. Hans Kiening, Franz Koch, Michael Koppetz, Sibylle Maier, Marita Müller, Timo Müller,

Dr. Achim Oehler, Marc Shipman-Mueller, Frank Schlammer, Stefan Schmidt, Tng Siew Moi, An Tran, Grace Wang,

Adrian Widera, Norbert Wunderlich

Artwork: Jochen Thieser, Uwe Heilig, Markus Kronberger, Matthias Griessel

Printed by: Rapp-Druck GmbH, Flintsbach

The opinions expressed by individuals quoted in articles in the ARRI NEWS do not necessarily represent those of ARRI or the editors of the ARRI NEWS.

Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and specifications given in this publication are subject to change without notice.

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