45

EXPO 2000 Jet

Ice Storm
Wing Commander
Issue
June 1998
Products
ARRI Vari con
Single Frame Shutter
for the ARRI FLEX 435
New Accessories for
the Lens Control System
ARRI SUN 120
ARRI X12
2
Wing Commander The Film
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WI NG COMMANDER was filmed in Luxem-
bourg. With a budget of 45 million DM, it
is the most expensive film project to date
made in the Grand Duchy. The film was
produced by the Carousel Picture Company
(AN AMERICAN WEREWOLF IN PARIS) which the
Luxembourger Romain Schroeder founded,
together with his partner Tom Reeve in 1995.
The main roles are played by Freddie Prin-
ze jr. (I KNOW WHAT YOU DID LAST SUMMER)
and Matthew Lillard (SCREAM), two of Holly-
woods rising stars. In supporting roles are
Jrgen Prochnow (THE BOAT) and Tchky
Karyo (NI KI TA). For his debut, Chris Roberts
hired some of the best international special-
ists. In the team of over 170 people, such
well-known names as Peter Lamont and
Thats right: when you hear the title WI NG COMMANDER you first think
of the very popular computer game of the same name. It has now been
adapted for the cinema in a suitably ambitious way, using state of the art
technology. It is the year 2624. In the universe a war is going on. The
heroes stranded war veterans and daring young pilots get involved
in risky battles with each other and survive dangerous missions. Exciting
fights and the struggle between good and bad are at the heart of this saga
in outer space. The story borrows from the film, THE BOAT, adapted of
course for outer space, Chris Roberts describing his feature film. It is
the first time this American has directed a film he also developed the
computer game series of the same name.
Michael Ford can be found. They were re-
sponsible for the design of the buildings and
details of the set construction. Both recently
received an Oscar for their work on the
mega-production TI TANI C. In total, 25 peo-
ple who worked on the TI TANI C production
were hired to work on this project. Csar-
winner Thierry Arbogast (films include THE
FIFTH ELEMENT, LEON, SHES SO LOVELY) was
responsible for image composition. He shot
WI NG COMMANDER with ARRIFLEX 535B
and 435 cameras. Robert Wiesmann, head
of the ARRI Camera Rental Park in Munich,
spoke to him:
R.W.: Your last film, THE FIFTH ELEMENT was
the same genre. Can we assume that Science
Fiction is your preferred film genre?
Thierry Arbogast: No, it was more a
coincidence that Luc Besson made a Science
Fiction film. As I had often worked with him
before, it was also clear that he would ask
me if I wanted to make the film.I very much
like the type of cinema which in France is
called genre films for example period dra-
mas, thrillers and of course also Science
Fiction, which provide a particular chal-
lenge. I mean, I love films which belong to
a precisely defined category.
R.W.: And what films do you like to go
and see?
Thierry Arbogast: I think highly of Fran-
cis Ford Coppolas THE GODFATHER, Michael
Ciminos HEAVENS GATE and also Clint East-
woods PALE RI DER. As a visual person I
prefer this style when beautiful images are
shown. In general these are North American
productions.
R.W.: On WI NG COMMANDER you also
support Chris Roberts in directing, as he is
actually a computer games programmer
and this is his first time directing. How did
you cope with this extra function as well as
your tasks as DoP?
Thierry Arbogast: Oh no you cant
claim that I directed on WI NG COMMANDER
in any way. I just very much enjoy discussing
with the director how a sequence should be
shot. Or what possibilities existed to further
tighten up a sequence.
With Luc Besson its completely different as
he has a very exact idea of how a sequence
should be shot. Often he even operates the
camera. And then Im the one who has to
run after him. But I am, of course, very in-
terested in the discussion with the director,
as that is also part of filming.
And although this was his first film, Chris
Roberts is a brilliant director, especially
technically. He is very enthusiastic about the
cinematic medium. And there were already
many filmic sequences in the WI NG COM-
MANDER games, so you could say he has
definitely a certain experience in directing.
R.W.: On the set it was noticed that you
let the operator work the camera, although
particularly in Europe thats not very com-
mon.
3
Thierry Arbogast: First of all the se-
quence is discussed with the director to get
a common understanding of it. Then, of
course, I reach for the camera to establish
the image composition. Then I leave the field
to the operator and tell him: thats exactly
what we want.
The actual operating of the camera is a job
which I dont necessarily have to do. Some-
times it is also simply better to have an oper-
ator on the scene.
R.W.: You shot WI NG COMMANDER and
THE FI FTH ELEMENT on Super 35. Who de-
cided on this format?
Thierry Arbogast: Well, it wasnt my per-
sonal choice. On THE FI FTH ELEMENT the
recommendation on format came from Dig-
ital Domain, as with anamorphic lenses the
special effects would have been more com-
plicated. Luc Besson finally made the de-
cision.
Personally I also like anamorphic lenses
because of the aesthetic reproduction they
create something bizarre in the image which
I find interesting. The same with zooms which
cause the image to no longer look quite as
natural. I would also like to try out the Vari-
able Primes one day.
R.W.: You shot both THE FI FTH ELEMENT
and WI NG COMMANDER with ARRIFLEX
435 and 535 cameras how did you find
them?
Thierry Arbogast: To be honest, if I
have the choice between various camera
systems, I prefer the one with the better view-
finder. That seems to me to be the main trump
of an ARRI camera, as I like viewfinders on
which the image seems very close. It is a
little bit as if with an ARRIFLEX you are sit-
ting in the fifth row of a cinema and with
other cameras at the back of the cinema.
Some cameramen like that because then they
can assess the image globally and at the
same time keep an eye on the contours. But
that is rather a view of many operators.
When I work as an operator, I prefer to see
the image close up.
Another point is that the viewfinder can be
pivoted to the other camera side. Sometimes
you end up in the corner of a room and are
forced to use the viewfinder on the other side.
It doesnt happen very often, but on WI NG
COMMANDER thats exactly what happened
three or four times. And that alone justifies
the system.
R.W.: You also had a special ground glass
which darkened the surroundings to neutra-
lise everything which wasnt in the image.
Was that the operators wish?
Thierry Arbogast: No, that was my idea.
I hate seeing things in the camera which are
outside the image. For me only the image
counts only the image composition and
nothing else around it. I would even like the
surrounding area to be completely black.
R.W.: Doesnt it bother you, for example,
to only see the sound assistants microphone
once it comes into your image?
Thierry Arbogast:What can you do to
stop it? All you can do is pivot to the ground
when you see a microphone coming towards
the image, and that creates a bad image
composition. To me it makes more sense to
say: OK, lets repeat the scene. It certainly
doesnt justify leaving an edge around the
actual image. However, I accept having very
dark grey shadows to enable the operator
to at least have minimal points of reference.
R.W.: On WI NG COMMANDER there were
very many camera moves. Sometimes, for
example, the camera rotates on its own axis
with the Scorpio-head. Doesnt that later
cause a problem for animation?
Thierry Arbogast: No, not necessarily.
On WI NG COMMANDER the special effects
were much more easily adaptable than, for
example, on THE FIFTH ELEMENT. The techni-
cal development of special effects moves
very fast. With increasing experience people
now have far less fear of many things.
R.W.: In the jets cockpits you also left the
glass panes in the set. Doesnt that normally
create problems for post-production?
Thierry Arbogast: Yes and no. If the
glass panes are kept, some of the set will
also be reflected. That doesnt affect the
Green Screens performance though. But if
we take the glass away, we would have no
reflections, and they make everything look
far more realistic.
R.W.: The budget of WI NG COMMANDER
was much smaller than on THE FI FTH ELE-
MENT. Did that cause limitations?
Thierry Arbogast: As a DoP you dont
have a lot of influence on the productions
problems. The limitations exist and you have
to live with them. But that also happens on a
large film and its not necessarily a question
of budget. In any case you have a certain
responsibility to the production company.
And that means, if I dont really need some-
thing, I dont take it. Even on a big film.
It is correct that less money was available
for WI NG COMMANDER than for THE FI FTH
ELEMENT. Despite this, relatively speaking
the budgets for both films were very small.
DoP Thierry Arbogast
On WING COMMANDER we shot for 9 weeks
with 4 cameras, on THE FI FTH ELEMENT it
was 20 weeks, again with 4 cameras.
R.W.: Which of your own films is your
favourite?
Thierry Arbogast: I very much like the
films which Luc Besson directed, because he
is an extraordinary director who teaches me
a lot technically. It is a great pleasure to work
with Luc. There is a film called LE BRASI ER by
director Rick Barbier which I also enjoyed a
lot, or HUSAR ON THE ROOF. But somehow
its strange to say that a film is your favourite.
That is like deciding which child in the fam-
ily is your favourite. I really like all the films
I make, even the little productions, such as
for example THE APARTMENT by Gilles Mi-
mony.
R.W.: Thank you very much for this inter-
view! Thierry Arbogasts next project will
again be with Luc Besson, who after THE
FI FTH ELEMENT, LEON, NI KI TA and THE BI G
BLUE will begin filming JOAN OF ARC this
summer.
RW/JT
44
The Ice Storm
THE I CE STORM, directed by Ang Lee, is a
thought provoking film about two upper
middle class families living a comfortable
life in suburban Connecticut, in the 1970s.
Despite all the trappings of the American
dream and the happiness its supposed to
bring these characters, they lead empty,
shallow lives. A thread is woven depicting
the interpersonal relationships between
members of each family as well as indivi-
dual relationships between both families.
As Thanksgiving approaches the main
characters attend a party, but instead of
enjoying the warm glow of the holiday
spirit, we watch emotionally vacant people,
against a bleak backdrop, merely going
through the motions of happiness. The mov-
ie climaxes on Thanksgiving Day, when an
ice storm occurs and results in tragedy.
The wintry and stark appearance of the film
reflects the emptiness of the lives of the main
5
Director Ang Lee and
DoP Fred Elmes
characters, the Hoods. Cold, hard surfaces
and glass reflections were used to enhance
the mood of the movie together with trans-
parent materials and shapes as a link to
the crystal world of the ice storm itself.
The above is a summary of a number of
published views of the complex essence of
the film.
We had an opportunity to spend some time
with Fred Elmes ASC, the highly regarded
Director of Photography of THE I CE STORM.
He kindly gave us some insights on how he
was able to create an ice storm environ-
ment and make early spring look like late
November.
We began filming in April and May which
was particularly challenging because the
leaves on the trees had started to sprout.
This made creating the cold wintry look of
November and the ice storm particularly
difficult. To capture the ice storm and estab-
lish the winter scenes we went on location
in February. For several nights we sprayed
the trees with water to create ice. In order
to match the atmosphere and to enhance
the drama of the story we literally drained
the color out of everything. The subtle colors
we created felt winter-like. Mark Friedberg,
our production designer, did an excellent
job in achieving these effects.
But besides these technical problems we also
had problems with the residents of New
Canaan, Connecticut, where the movie takes
place. Some of the residents had read the
book and were upset about the drugs and
wife swapping aspects of the story. Fortuna-
tely, we already had the film permit when
the local board tried to stop us. However,
shooting close to Manhattan was a positive
thing. We rented all our production gear
from CSC (Camera Service Center) which
made me feel very confident since my rela-
tionship with CSC goes back a long time.
Its important to have a good rapport with
your rental house and to be able to rely on
their support whenever you need them.
I can give you a small example of how im-
portant it is to have that kind of relationship.
On Christopher Reeves debut film, the TV
movie, I N THE GLOAMI NG, I needed a spe-
cial way to show Chris close-ups, over-the-
shoulder shots, and dolly moves, which he
couldnt observe because he couldnt al-
ways be next to the camera. CSC quickly
built a directors finder with a color camera
and transmitter thus allowing me to show all
these sequences to Chris, who was watching
on a monitor in another room.
For I N THE GLOAMI NG I used nearly exclu-
sively the new Variable Primes. I was able
to zoom very gently and slowly into close
ups, sometimes nearly imperceptible to the
audience. The intercut between the Zeiss
standard Primes and Variable Primes worked
seamlessly
.
For THE I CE STORM Camera Service Center
provided us with a complete package includ-
ing the ARRIFLEX 535, 535B and 435ES
camera systems equipped with Zeiss Stan-
dard Lenses. The Zeiss Standard Primes are
incredibly sharp lenses and very neutral in
color. They gave me the crisp cool, hard,
edgy look consistent throughout the film.
The results are on the screen. Camera Ser-
vice Center also supplied the complete
lighting and generator package. I am current-
ly preping for my next feature and look
forward to working with CSC again.
F. Wieser
6
EXPO 2000 Jet
The Making of
The Oceanis, the German deep sea research station, lies 100 m below the
oceans surface. It can be reached in just 25 seconds by an underwater el-
evator. The EXPO 2000 Jet, a futuristic ultrasonic jet which flies under wa-
ter, takes off from the Oceanis. Neither the Oceanis nor the EXPO 2000 Jet
really exist yet. However they are the main element of the German Pavilion
at the EXPO 98 which takes place from 22 May to 30 September 1998 in
Lisbon. By means of the most refined architectural and film tricks, visitors are
given the illusion of actually being in the depths of the sea and of experienc-
ing the EXPO 2000 Jet in a fantastic journey through space and time. The
excursion takes them from Lisbon 1998 to the World Expo in Hanover in the
year 2000.
The EXPO 2000 Jet is a cinema equipped
with the most modern simulation technology
(realisation: MRC Simulatorentechnologie
Markus Lankes). A closed cabin is moved
synchronously to the film image as in a
flight simulator. A perfect feeling of actual
flight is created as the spectators eye can
find no other fixed points. This unique mov-
ing cinema can accommodate 80 passen-
gers, making it the largest cinema of its kind
in the world. It is the highlight of the Ger-
man pavilion, conceived by the Stuttgart
agency Milla + Partner and realised together
with the architects Lippsmaier + Partner.
The client, the Federal Minister for the Econ-
omy wants to use it to attract a large inter-
national crowd to the upcoming world event
in Hanover, EXPO 2000. The four-minute
film which shows this fantastic journey was
produced by KUK Filmproduktion GmbH,
Munich and directed by Josef Kluger. ARRI
Digital Film was given the task of carrying
out the complex digital post-production and
designing the computer animation.
7
Josef Kluger,
KUK Filmproduktion GmbH
The journey in the EXPO 2000 Jet begins
with the detachment from the Oceanis deep
sea station. While the jet glides over wrecks
and coral reefs it takes us on a voyage
through the exciting underwater world where
dolphins, submarines, research probes,
divers and a huge variety of fish greet us.
The jets motor start to resonant and with a
powerful force propels the Oceanis through
the waters surface. It flies over Lisbon,
ascends to the clouds and begins ist jour-
ney through the time tunnel. When the time
travel ends the Oceanis lands on the vir-
tual grounds of the EXPO 2000, greeted
by a crowd of cheering onlookers.
The biggest challenge of this project was
filming the single shots and then forming a
whole so that the spectator would experi-
ence a continuous flight in the finished film
and not notice the transitions, explains
Josef Kluger, 90% of the film is made up
of five takes each lasting between 20 and
60 seconds. We were on the go for almost
two months, filming underwater in the Red
Sea in Egypt, the helicopter flight over Lisbon,
visitors at the EXPO Plaza in Cape Town.
On each of these trips we filmed one or at
the most two shots but they had to be ab-
solutely perfect!
Particular demands were placed on image
quality because of the extremely wide for-
mat. Projection in the EXPO 2000 Jet is done
by three high resolution video beams. These
three projection fields (each 3:4) create an
overall frame ratio of 1:4, a non standard
format.
On top the entire image has to always be
totally in focus from the foreground to infin-
ity to prevent the spectator from ever getting
the feeling that he is just sitting in front of a
screen. DoP Matthias Neumann decided to
shoot in Super 35 for this reason and to
enlarge the image format from the negative.
Each of the three partial enlargements was
thus slightly smaller than a 16 mm negative.
In order to prevent problems with grain
and resolution with such a strong enlarge-
ment, particularly exacting standards had
to be placed on the film technology, film-
stock and processing in post-production.
During tests the good old EXR 5248 proved
itself to be the best filmstock, and for takes
where depth-of-field was critical VISION
5274 was the limit, explains Matthias
Neumann.
In order to achieve the high quality standard,
the production used the best technical equip-
ment for every take and booked the most
experienced teams of operators. For the
shoot in Egypt for example, underwater
cameraman Sascha Mieke and his team
were hired. He flew in the Hydroflex under-
water housing from Miami which had just
come back from shooting the latest James
Bond film. For the shoot this housing was
then mounted on an Aquazepp (Aquazepps
are controllable underwater torpedoes driv-
en by a strong electric motor). With this
traction engine, Sascha was able to reach
the necessary speed for the diving shots
and still be close enough to the wreck and
the coral reef. The requirement to simulate
the jet taking off pushed the diving crew to
the edge of the medically possible. Sascha
had to pulled by the Aquazepp swim
up from 20m depth in less than 20seconds
and break through the surface of the water.
This sort of quick surfacing action is extreme-
ly dangerous for divers and can cause de-
compression. To prevent that, Olaf Goetsch,
a specialist in extreme diving, constantly
8
monitored the divers physical strain and to
prevent possible physical damage used oxy-
gen bottles filled with a nitric solution spe-
cifically for this purpose.
The second unit team was off shooting dol-
phins to add to the mock-up of the Oce-
anis. In a small fishing village they found
a dolphin living freely which liked to be
close to the bay and had made friends with
a deaf-mute fisherman. The dolphin played
for the camera and shots were attained
which never would have been possible in
an aquarium.
After breaking the surface of the water the
Jet flies two meters over the Tejo towards
Lisbon, does a few tight loops over the hous-
es of the old town and then climbs steeply
into the sky. The camera had to be hung in
front of the helicopter in the direction of
flight, absolutely free of vibration, and be
able to be moved and controlled in all
three axes. In order to maintain the impres-
sion of speed the helicopter had to fly at
nearly maximum speed. Finally flying through
the clouds was further supported with a short
zoom.
As these requirements could not be met by
any of the nosemounts stationed in Europe
(and Super 35 together with a short focal
length proved to be a further problem), the
production decided to fly in the gyro-stabi-
lised Spacecam system from Los Angeles.
The Spacecam crew had previously filmed
all the helicopter shots for TITANIC and so
was used to being in extreme situations just
above the water.
Despite this, the shoot in Lisbon was endan-
gered of the 12 cases of Spacecam equip-
ment the most important one was incorrect-
ly loaded during a stopover in New York
and ended up somewhere in Canada. While
the team waited for case no. 12, they were
forced to sit around and watch the glorious
blue Lisbon sky turn dark. Lisbon was suf-
fering from the effects of El Nio during her
Autumn season.
A day later filming was finally possible it
was drizzling in the morning. The helicopter
and crew still took off and rehearsed the
flight. On the third flight, the sun poked
through the cloud cover for a few minutes
and the old town was lit up in soft warm
morning light. Two ferries were leaving the
dock, the Spacecam system worked perfect-
ly and the take was done! Even before the
helicopter returned to its starting position,
it started raining and kept doing so for the
next several days.
During filming in other countries the com-
pany Magicon built a mock-up on a 1:30
scale for all the shots of the underwater sta-
tion Oceanis. Realistically built mock-ups
will continue to exist despite computer ani-
mation, explains Joachim Grninger, own-
er of the Munich company Magicon. It is
important to skillfully combine the best of
both worlds. We work closely together with
the camera team. So the cameraman still
has the opportunity to change nuances of
the patina or detailing up to the moment
when the camera starts running. He can
control the light come in more steeply or
9
Excerpt from the teamlist - EXPO 2000 Jet
Client German Federal Minister for the Economy
Concept and Realisation Milla & Partner, Stuttgart
German Pavilion in Lisbon Lippsmeier & Partner, Starnberg
Film Production KUK Filmproduktion GmbH, Munich
Director/Producer Josef Kluger
Director of Photography Matthias Neumann
Executive Producer Fred G. Eger
Lucky Gorschlter
Underwater Team Sascha Mieke
Max Bestle
Christian Troschke
Olaf Goetsch
Spacecam Operators Jeremy Braben
Andrew Sych
Set Design Benedikt Herford
Mock-ups Magicon
Motion Control Magicmove
Past-Production ARRI Digital Film
Visual Effects Supervisor Jrgen Schopper
more shallow, harder or softer, until he gets
the exact degree of plasticity which he
wants the whole thing remains touchable
and real.
The tracking shot itself was then done with
motion control, steering all movements and
lighting effects on the station via the motion
control computer, for example the closing of
the tentacles on the docking station and
the journey in the elevator cabin in which
visitors are brought to the underwater station.
The use of motion control also enabled film-
ing at 6 frames per second. With relatively
little lighting, exposure at aperture 8 was
possible, in order to attain the depth-of-field
necessary for the mock-up shots even with
slow filmstock.
To achieve a realistic underwater impression
in the finished film, several motion control
versions of the same tracking shot were
filmed. In total fifteen different shots of the
station, including dry for wet in thick fog,
lights shot separately on the mock-up and
various lighting conditions, and masking
versions for the underwater landscape and
the research station.
Motion control is imperative if you want
to show a flight or something similar with
more complex camera movements. You can
shoot different versions in different lighting
situations and then mix these single passes
in post-production so as to get exactly the
desired atmosphere. In addition four mask-
ing versions were created, one for the sta-
tion and three more for different rock forma-
tions, explains Joachim Grninger. The
company Magicmove, which he founded
together with the advertising film director
Sebastian Cramer, was responsible for the
motion control shots.
All moving data was given to ARRI Digital
Film for the computer animation, remem-
bers motion control co-ordinator Jan Berno-
tat. With a line-test, a complete match of
the real camera movement and the virtual
camera movement in computer animation
were able to be confirmed after a very short
tuning phase. Mitch Enzmann of Magic-
move explains this short tuning phase: It
is amazing what you can do these days
with 3D tracking, but I doubt that with a
diffused foggy underwater world we would
have received enough information for clean
3D tracking. Whats pleasing about motion
control is, of course, that in a certain sense
it always delivers this movement information.
In the two-month post-production phase at
ARRI Digital Film, submarines and sea probes
were designed in the computer animation
department and created with Alias/Wave-
front software. Animated fish, jellyfish, as
well as plankton and floating particles were
also created on the computer. To achieve
the desired illusion, a realistic photograph-
ic standard was necessary.
The individual elements were then integrated
with the stored tracking shot scene, enabling
filming from the same perspective as the
Oceanis-mock-up in the real shoot.
With Cineon you can fix the relation of the
over 700 working steps to each other. So
it was possible to vary the depth of the fog,
the impression of the station lighting and
the lighting and colour atmosphere of every
individual image plane until we had achie-
ved the desired realistic image impression,
explains VFX-supervisor Jrgen Schopper
of ARRI Digital Film. The most important
thing was however that the team was highly
motivated and worked very harmoniously
together.
Together with the simulation of the motion
base, the film offers the spectator a com-
pletely new cinematic experience which in
this form is unique and cannot be compared
with normal simulation techniques such as
Showscan. The moving experience will be
so real that one can only hope that nobody
in Lisbon will get seasick or be afraid of
flying.
KUK Filmproduktion/S. Cramer/JT
10
Magicon:
KUK Filmproduktion GmbH
Magicmove:
Joachim Grninger,
Magicon/Magicmove
Sebastian Cramer
KUK Filmproduktion GmbH was founded in 1992 by Josef Kluger and Roman Kuhn and since
then has concentrated on the business area of corporate image and events coverage films.
From the outset we have consistently produced only projects with which we could reach the high-
est international production standards, general manager and director Josef Kluger explains the
companys concept, quality was always more important to us than quantity, and the client
success as well as awards in competitions over the last years have confirmed our belief.
So films were created which through their style and the formats used (Cinemascope, 70mm,
super wide-screen format 1:4) constantly displayed a great visual experience beyond the
information presented. For example the presentation films of the new Mercedes V-Class,
the film PI ANO with Herbie Hancock, produced as a company portrait for Vebacom, the
detective film DER AUFTRAG (THE CONTRACT) for o.tel.os presentation at CeBit 97.
Award Film title
BRONZE-Pyramid ITVA Festival 1996 PI ANO a multi-media journey
German Wirtschaftsfilmpreis 1996 with Herbie Hancock
GOLD-Pyramid ITVA Festival 1996 ACHTERBAHN DER GEFHLE
AWARD OF MASTER Corporate Video 1997 Short film about growing up
BEST OF CATEGORY and CRAFT AWARD Director
Fifth Annual ITVA-International Video Festival
AWARD OF MASTER Corporate Video 1997 DER AUFTRAG
AWARD OF MASTER Corporate Video 1995 FI T FOR SUN, a music video on
protection from the sun
Award VERY GOOD SCHLSSEL- ERLEBNI SSE
at the Industrial Film Forum Hanover 1993 (IMPORTANT EXPERIENCES) Short film
A selection of the most important prizes and awards
Magicon first worked on Roland Emmerichs
European films, such as THE NOAHS ARC
PRI NCI PLE, J OEY, HOLLYWOOD MONSTER
and MOON 44. Then more and more con-
tracts from the advertising industry followed.
The company led by Joachim Grninger
today offers mock-ups, creatures, puppets
and mechanical devices for films such as
catapults, hoists or water tanks, as well as
make-up effects or animatronics. Magicon
produced among other things the prosthet-
ics and the structure of the werewolf for
AN AMERI CAN WEREWOLF I N PARI S. Magi-
cons latest project is together with Magic-
move the mock-up shots for 13TH FLOOR, a
feature film to be produced by Centropolis
Streamline/Roland Emmerich.
Some other films are: NUR BER MEI NE
LEICHE (OVER MY DEAD BODY), JENSEITS DER
STI LLE ( BEYOND SI LENCE) , NEVER ENDI NG
STORY I I , THE HI GH CRUSADE and DI E APO-
THEKERI N (THE APOTHECARY).
Magicmove, the sister company of Magi-
con, offers motion control filming systems
and camera technology. Part of the compa-
ny philosophy is to develop the technical
machinery and have it built. Sebastian
Cramer, co-owner together with J. Grninger,
explains: We have always put emphasis
on keeping our technology as flexible as
possible. Sometimes a cameraman wants
to use more mock-up movers or he wants to
mount the camera on a special carriage
etc. ... This would all be a lot more difficult if
we were to work with ready-made sys-
tems The whole motion control apparatus
was able to be transported for example by
helicopter to a glacier, or a rolling axis was
developed in which the camera turns around
a fixed 90 snorkel. At the request of cam-
eraman Stefan von Borbely, the ARRI Shift
& Tilt system was also motorised for an ad-
vertising project and integrated into the
motion control.
11
Walking with
Dinosaurs
The ARRIFLEX 435 has been selected for
a number of major features recently STAR
WARS and THE FI FTH ELEMENT for instance
but you wouldnt normally expect to find
it on a BBC natural world shoot. In the more
than capable hands of John Howarth, how-
ever, its currently in the middle of shooting
a real-life epic that promises to be one of
the most amazing outputs of the renowned
BBC Science Department. This natural his-
tory programme, filming the animals in their
natural habitat on location, was with one
major difference. In WALKING WITH DINO-
SAURS time-slips back some 22 million years.
ARRI News talked to John just before he set
off on a journey of some five weeks or
millions of years. Its his second trip to
New Zealand on the six part series, with
Tasmania, New Caledonia, Australia, Cali-
fornia and Chile to come. The locations
have been carefully selected to represent
the primeval forests and savannahs where
the dinosaurs roamed a botanist is a key
member of the party to identify the appro-
priate trees and plant life landscapes.
But while modern New Zealand can stand
in for pre-ice-cap temperate Antarctica,
where will the unit find its dinosaurs? In
fact the programmes use an astonishing
mix of computer generated images and ani-
matronics along the lines of JURASSI C
John Howarth takes his 435
on a 220 million year trip
PARK and LOST WORLD but now dedicated
to science rather than drama. The many
different species are all faithful reconstruc-
tions based on the ample paleontological
evidence that exists. Two more vital mem-
bers of the small but specialised crew are
model-maker/puppeteers.
John Howarth and his assistant Peter Thorn
are constantly moving from the real world
to pure visual effects, but with a huge amount
of blue-screen interaction between the two
a real dinosaur jaw is hydraulically manip-
ulated by human operators, with the rest of
the animal subsequently computer-painted in.
The camera and its capabilities are usually
more critical to a film of this kind. The ARRI-
FLEX 435, John believes, is ideal for this
task as well as being an exceptional all-
round 35mm camera. Typically, of course,
most filming for broadcast uses 16mm. His
previous good experiences with the 435
led him to take the plunge recently and buy
his own.
Realizing that this contract would run for
over a year, John decided to purchase a
435 ES camera with IVS and approached
Axis Films the camera rental company at
Shepperton Studios, to explore the possibili-
ties of a joint venture into the world of
35mm. Axis Films, who have provided
16mm ARRI cameras on a number of TV
dramas such as Londons Burning. Kavanagh
and Jonathan Creek saw this as a natural
addition to their rental fleet. Paul Carter of
Axis Films explained the past investment in
the ARRI 24 volt system has finally paid
dividends with all the camera accessories
being interchangeable between 16 and
35mm.
For WALKI NG WI TH DI NOSAURS, John is
shooting wide-screen 16x 9 format, super
35 but with an open gate. He explained
how this allows much more usable informa-
tion on the film for the later post-production
work. He can shoot locked-off and zoom in
for looser movement on the central subject,
adjusting within a wider framing that is
already there. Even though so much is even-
tually going to be digital creation, you sim-
ply cant do this if you start from tape. For
stock, hes using Kodaks new fast daylight
5245 and 5246.
JW
12 12
Royal Escape
Chris Pinnock / Jack Cardiff
The story starts here
It is, however, a project with a long history.
Chriss ambition to turn the concept into
reality goes back 20 years while the story
itself dates back to 1651. In that year,
Charles II invaded Oliver Cromwells En-
gland but was defeated at the key Civil
War battle of Worcester. As its working
title suggests, the story of ROYAL ESCAPE
only begins at this point.
Chris Pinnock explains. The whole country
was searching for the King; some to assist
him, most to deliver him up to the round-
heads aided by a national proclamation
of 1,000 reward, a small fortune then. So
its actually a tight and tense dramatic sto-
ry, not a Hollywood swashbuckle, though
there is a love-interest since Charles was
a great womaniser. The events actually
changed the course of history if he had
been captured and executed like his father,
there would have been no Restoration and
we might now be living in a republic.
Bosco Bello Productions (the name comes
from one of the houses Charles sought refuge
in) is now very much up and running al-
though a key task is the completion of fund-
ing. An important on-board figure is the
legendary Oscar-winning director Jack
Cardiff, BSC. Chris has worked with him
for many years and in January he directed
the sample footage shot in Cheshire. He is
Virtually every other item in ARRI
News refers to work either in pro-
duction or completed. ROYAL ESCAPE
is rather different. We talked to
Chris Pinnock, whose project this
romantic period drama is, when he
had just 2min 50secs of pilot footage
in the can.
assistance to award schemes and student
schemes. Without new projects like this,
therell be no business for us in the future
and no new Jack Cardiffs either; so its en-
lightened self-interest really.
Chris Pinnock really has two hero figures
in the film business. Jack Cardiff himself
who amazingly combines huge lifetime
experience with still enormous enthusiasm
and capacity for terrific innovation. The
other is David Lean whose LI FE I N FI LM,
Chris believes is virtually a how-to-do-it blue-
print for filmaking.
His own career began in the cutting room
at Twickenham starting on classic Ken
Loach dramas POOR COW and KES. Regu-
lar progress came through the clapper/
loader, focus-puller, operator route.
So now with ROYAL ESCAPE coming into be-
ing and his own Bosco Bello production
set-up, is he moving off the floor into the
office? No way. Im strictly the cinemato-
grapher thats why were talking to real
producers.
As a last word though, when ROYAL ESCAPE
becomes the box-office hit of 2001, re-
member you saw it first in ARRI News.
GB/AC
extremely warm about the value of the pro-
duction and its cinematic potential
.
The target is a year 2,000 release, with
the rapidly rising interest in British history
as we approach the millenium. Following
the pilot work, a screen treatment of the
original idea is being developed by rising
writer Carol Allen, initial casting is being
explored and, above all, full funding is be-
ing sought.
A Lottery request is on the table, serious
discussions are being held with producers
such as Peter Schnell, Christabel Aubrey of
the London Film Commission is very encour-
aging. But as Chris admits, actual filming
will be the easy part.
The pilot is a significant step forward. Shot
in the historic market square of Nantwich
the cast featured a Commander of the
Sealed Knot Society reading the proclama-
tion of Charless guilt. ARRI Media made
a contribution to the shoot with two BL4
cameras. Jack Cardiff directed and Chris
himself was DoP.
Graham Anderson, ARRI Medias director
and general manager, made the point that
the company has a long history of support-
ing new initiatives in the industry. It is a
sponsor of the BCS Trust and regularly gives
13
The Bal l
A European Co-Production
In over three years of development and
preparatory work, the producers of this
feature film together with writer Jean-Claude
Van Rijckeghem and director Dany Deprez,
had set up a childrens feature film project
costing about 5 million DM. It was in every
respect a creative and technical challenge.
For the 90-minute film approximately 10
minutes of 3D computer animation and
comprehensive mechanical special effects
were created. The main actors are children
aged between 12 and 15. On the set they
interact with their adult colleagues and
with a ball which was created entirely in
Shooting on the feature film production, THE BALL, began near Brussels in
Autumn 1997. A classical story about true love, great adventures and magic.
A story about children, homework, Italian biscuits and a living ball.
digital post-production. After processing
the negative, the film was digitised and
edited on AVID. At the same time a first
rough cut version with 3D animation was
created, which was sent to the AVID via
the Internet. Parallel to the rough cut which
was being constantly developed during
shooting, the fine-tuning of the computer
animation of the ball, or rather its activities,
was successively carried out.
The German co-producers from B&T Film
(Brndli & Teichmann GBR) in Berlin have
over 10 years experience in making chil-
drens films. Working with children in front
of the camera and creating effective films
for this extremely demanding audience, is
a unique and specialised area.
Flemish Film Fund, Belgium, Film Fund of
the French Community Belgium, Eurimages
Strasbourg, BRTN Belgian Television, AVRO
Dutch Television, FilmNet Pay TV Benelux,
COBO Fund Holland, Filmboard Berlin-
Brandenburg and others contributed finan-
cial resources to the film.
THE BALL was filmed on an ARRIFLEX 535
from ARRI Intervision Cine Rent. The lab
work was carried out at ARRI Contrast, Berlin.
The film will be finished by June 1998.
Stephan Kalesse
14
Der S i eg
DER SIEG
ROBERTKRAUSE
PETERBONGARTZ
MICHAELENGELER
AFILMBY
WITH
PICTURESPRESENT
DIRECTOROF
PHOTOGRAPHY
INASSOCIATION
WITH
SETDESIGN
BY RICHARDKRAUSE CHRISTIANSCHFER HEINRICHBLANK JANSIPSASCHACOVIC
WARDROBE
SUPERVISORANJASTROHMEIER
MUSICSOUND
DESIGNBYHANSFRANEK
RALFSCHRECK
EDITED
BY PRECUT RICHARDKRAUSEROBERTKRAUSE LYDIAMORIC
SCREENPLAY
BY
FUNDED
BY
ROBERTKRAUSEMANJALUTZ&MONIKARAEBEL
RUDOLFKIMMERLEMARTINDESMYTTERE
DIRECTED
BYROBERTKRAUSE
INCOOPERATION
WITHARRIANDROMANKUHN
AMANJALUTZMONIKARAEBEL&ROBERTKRAUSEPRODUCTION
A young gymnast lives only for his sport and faces the competition of his
lifetime: the final exercise at the parallel bars could make him overall win-
ner. The title for which he has trained for so long, and for which he has giv-
en everything, is within reach. In the old, famous competition hall, a tense
atmosphere can be felt. The young, appealing athletes performance is bril-
liant, but a new, far more difficult struggle, is to follow the unexpected end
to his free section.
DER SI EG (The Conquest) is one of the
projects of young film makers and film stu-
dents supported by ARRI. A selection of
these sponsorship projects can be seen on
18th of June in the ARRI cinema.
Shooting of the short film DER SI EG with
Peter Bongartz and Michael Engeler, the
top Swiss athlete, was done in the Reit-
halle in Munich. Both producers Manja
Lutz and Monika Raebel of Catapult Film-
produktion made this short film in collabo-
ration with ARRI. DER SI EG was financed
and produced entirely by them. We placed
high demands on both the script and the
production. Basically, ARRI and other co-
financiers enabled the production of the
project the two young producers explain:
In the Reithalle in Munich we found the
ideal setting. It was turned into a competi-
tion hall. The white walls were covered
with material to prevent flare. Only the
windows in the front were left uncovered,
to enable setting light through them and to
create a mystical atmosphere.
DoP Richard Krause is a student at the HFF
Konrad Wolf in Babelsberg. He reports on
his work: The story takes place on two
time planes a transfigured plane in the
past and a normally depicted plane in the
present. These planes had to be well sepa-
rated from each other visually. Director
Robert Krause and I came to the realisation
that a memory, i.e. an excursion into the
past, is determined only by so-called magi-
cal moments. These are portrayed in very
important moments in the plot. So we shot
short sequences. But I moved the camera
more than in the present. To make the gym-
nasts movements seem softer, I sped up to
30 or 50 frames per second.
The exercise at the bars presented a particu-
lar challenge. This sequence had to leave
the path of normal story-telling. We decid-
ed, for dramatic and technical reasons, to
shoot these scenes in a specially built Black-
box. I hung a 4kW or 1.2kW HMI PAR
above the bars. I filled it with two bounced
2kW tungsten fresnels. I didnt need any
more light. But for the gymnast it was a dif-
ferent story. It was very difficult for him to
15
Production: Catapult Filmproduktion
Executive Producers: Manja Lutz, Monika Raebel
Director: Robert Krause
Script: Robert Krause, Monika Raebel, Manja Lutz
DoP: Richard Krause
Editor: Richard Krause, Robert Krause
get used to the darkness, as he had no ori-
entation. He was performing nearly blind,
but each time only short exercise steps. It
was our goal to set the gymnast in an opti-
cal weightlessness during the progression
of his exercise. To achieve this effect, the
camera had to turn on its own axis and
perform absurd movements. The only op-
tion was a remotehead, mounted on a
phoenix crane. With this equipment, ev-
erything was possible in terms of the cam-
era. The camera was often placed very
close to the gymnast so that the gymnasts
feet whisked past very close to the lens.
The 12mm lens used further accentuated
the affect.
Our gymnast, Michael Engeler, turned in a
superhuman performer. And it was worth
it. A free section bar exercise was created
like youve never seen before.
In post-production the look was further fine-
tuned. The aim was by means of various
graduations and colour saturation to mirror
the emotional conditions of the protagonist,
to make them feelable. Apart from that
the two time planes had to be visually sepa-
rated from each other. Various effects were
examined in test series: omitting the bleach
bath in the dub negative phase, various
steep materials in an interim printing phase,
and combining colour and black/white
dubs. The tests were carried out by Blow
up Filmtechnik and in collaboration with
ARRI processed to achieve the first release
print. The result is well worth seeing and
will be shown in the ARRI cinema on 18th
of June along with other similar productions.
Monika Raebel
16
Stars and
Golden Frogs
The winners of the
Camerimage
200 km west of Warsaw the stars of the camera meet
once a year. What began five years ago as festival
director Marek Zydowiczs initiative has today be-
come one of the most important forums for cameramen:
at Camerimage those people occupy centrestage who
are normally behind the camera.
Marek Zydowicz had prepared everything
with lan and energy. With the help of
many volunteer students and, of course,
sponsors such as Kodak and ARRI, this is
now the fifth year for Camerimage in To-
run. The success of the film festival (in 1997
3,500 guests attended the festival, and
55,000 spectators saw the films) is obvious
as is the enthusiasm of the stars the cine-
matographers: It is this enthusiasm, this
inspiration of the young people, which
makes me happy to come here confirms
one of this years award-winners, Vilmos
Zsigmond. The competition itself concen-
trates entirely on the visual quality of the
films presented. Neither the overall impres-
sion nor the success at the box-office is the
decisive factor, but only the cameramans
work.
Glowing winners
This year Rogier Stoffers won the Golden
Frog for CHARACTER. A success which is
worth so much more since this is the first
film for both cameraman and director Mike
van Diem. Filmed mostly in the studio,
CHARACTER also represented the Nether-
lands at this years Oscar-Ceremony and
won.
NI L BY MOUTH, a portrait of a London work-
ing-class family, by director Gary Oldman,
won the Silver Frog. Ron Fortunato shot the
film on Super 16. NI L BY MOUTH won the
student prize as well as the Silver Frog.
Bronze went to FAMI LY EVENTS, for which
Pawel Edelmann was responsible for the
photography. A film about a mans memories
of his youth, directed by Leszek Wosiewicz.
The award-winners were chosen by a top-
class jury: under the chairmanship of script-
writer and director Agnieszka Holland, cin-
ematographers such as Eduard Serra (JUDE),
Dick Pope (NAKED), Jack N. Green (PERFECT
WORLD), Jerzy Zielinsky (POWDER), Laszlo
Kovacs (PAPER MOON), Edward Klosin
( THREE COLOURS: WHI TE) and Victor J.
Kemper (EYES OF LAURA MARS) decided
on the entries.
happy award-winners
Apart from the main categories, many spe-
cial prizes were awarded at the Camerim-
age. Vilmos Zsigmond this year received a
lifetime achievement award. At the screen-
ings, Zsigmond showed some of his greatest
successes, such as CLOSE ENCOUNTERS OF
THE THI RD KI ND, HEAVENS GATE, THE RI V-
ER and STALI N. His favourite film, MCCABE
AND MRS. MI LLER, was shown at the end.
The introductions which Zsigmond gave to
his films were extremely interesting. For the
spectators these were special highlights,
causing the screenings to go on long after
midnight.
A further attraction was certainly camera star
Vittorio Storaro. In 1994 he was awarded
a Golden Frog for his lifetimes work. At the
5th Camerimage he won, together with
Bernardo Bertolucci, a prize for the best
director/cinematographer duo. Represent-
ing Bertolucci, who was connected via In-
ternet from a London hospital, he accepted
the Special Prize for Film Direction with a
Special Visual Sensitivity for the Italian
director.
17
Above to below:
Robert Arnold during the ceremony
Meeting for dinner (l. to r.):
Horst Bergmann, Vilmos Zsigmond,
Vittorio Storaro, Robert Arnold,
Sophie Marceau, Marek Zydowicz,
Stefan von Borbly behind,
Witold Sobocinski
Vilmos Zsigmond, Horst Bergmann
(ARRI ) and Vittorio Storaro (l. to. r.)
Steadycam Workshop with Bruno
Robert Arnold and Vilmos Zsigmond
Bob Arnold, co-owner of ARRI, also re-
ceived a special prize for his great contri-
bution to the development of camera tech-
nology. In the future, he will be able to
add a Golden Frog to the many Academy-
and other awards proudly displayed in his
office. The evening before the presentation,
Bob Arnold invited guests, including actress
Sophie Marceau, Vilmos Zsigmond, Vittorio
Storaro and Pjotr and Witold Sobocinski,
to a dinner where they chatted about their
work. We have been a sponsor of the Cam-
erimage for four years, an investment which
bears many fruits, said Arnold happily. I
hope we will be able to further expand on
this collaboration.
satisfied students
The enthusiasm of the participants was also
obvious in the seminars and workshops
which took place in the nearby clubrooms.
Vilmos Zsigmond held, among other things,
a seminar on Cinematography for Television
Drama, where he demonstrated the use of
the Variable Primes with an ARRIFLEX 535B.
During the seminar he shot two scenes with
the students. Also popular was a lecture by
Vittorio Storaro on colour in film. Of course,
these events were not only lectures nu-
merous students took the opportunity to
pose detailed questions to their great role
models in order to learn tips and tricks from
the experienced professionals.
and high goals
For the future, the very active festival director
plans a film school in Torun. It will special-
ise in the areas of acting, film training and
scriptwriting. ARRI has already signed up
as a sponsor, and several cameramen have
also offered their support. Oliver Stone,
Michael Ballhaus, Piotr Sobocinski and many
others want to teach there. Torun, already
a student town, would become even more
of an attraction for film students. For the
first time the work of the film students was
also recognised at this awards ceremony.
A whole day of the festival was filled with
33 entries. The pre-selection had been
made by the film schools. The Golden Tad-
pole went to Marek Wieser for LI VER AND
POTATOES, Marek Gajczyk received the
silver prize for A WAY FOR MORAVI A. Ger-
many was represented and Saskia Kuipers
from the dffb in Berlin received the bronze
prize for her film SUMMERS DAY.
Thomas Drechsel/MM
How it all started
As a former lecturer for art history at Torun University,
I was one of the first to set up an exhibition of contempora-
ry art after Poland rejected Socialism. I also included
Volker Schlndorffs HOMO FABER in the programme.
The director convinced me to concentrate my ambitions
on film. Thats how Camerimage came about, as a festival
for visually exceptional films.
The frog as a prize statuette refers to a popular fairy
tale in Poland about a plague of frogs in Torun. The
citys mayor first came to grips with the problem after
he pledged his daughter to a violinist who enticed the
croaking plague out of the city.
Festival director Marek Zydowicz on the history of the
festival and the prizes.
18
Seamus Mc Garvey, BSC
Kundun
Jack Nicholson at ARRI
Jack Nicholson and Bob Arnold
l. to r.
Jack Nicholson,
Jrgen Schau,
Greg Kinnear
P
H
O
T
O
:

M
A
R
I
O

T
U
R
S
I
Martin Scorsese filmed the life of the Dalai Lama on Super 35, his preferred format. Kun-
dun follows the story of the young Tenzin Gyatso, who is discovered as a two-year old
child in a farming village and proclaimed 14th Dalai Lama, the spiritual and political
leader of Tibet. When Chinas Red Army occupies the country, the Dalai Lama is forced
to leave his home.
DoP Roger Deakins shot the 30 million dollar production on the ARRIFLEX 535B and 435.
For his exceptional camera work, he was nominated for the coveted film prize at this years
OSCAR awards. Cine Cameras in Rome provided the ARRIFLEX cameras for KUNDUN.
Columbia Tri-Stars Jrgen Schau managed
to pull off the super coup: Jack Nicholson
came to the ARRI cinema in Munich for the
German premiere of AS GOOD AS I T GETS.
The two-time Oscar-winner hadnt been to
the film city on the Isar for 22 years. The
Munich premiere audience was suitably
enthusiastic and greeted the US-star with
deafening applause.
Jack Nicholson won a Golden Globe for his
role in James L. Brooks comedy, as well as
the most coveted of awards, the OSCAR.
With his 11th nomination, Jack Nicholson
heads the list of the most frequently nomi-
nated male actors. Only the legendary
Katherine Hepburn is still ahead of him: she
received 12 OSCAR nominations.
Congratulations to the new BSCs Magnificent Seven
Productions credits include:
Henry Braham: LAND GI RLS, SHOOTI NG FI SH, ROSEANNAS GRAVE
Oliver Curtis: LOVE AND DEATH ON LONG I SLAND, OUR BOY, THE WI SDOM OF CROCODI LES
Gavin Finney: TOMS MI DNI GHT GARDEN, FAMI LY MONEY, WI TNESS AGAI NST HI TLER
Daf Hobson: WELCOME TO SARAJEVO, THE LAKES, THE TENNANT OF WI LDFELL HALL
John Hooper: DALZI EL AND PASCOE, THE BEGGAR BRI DE, DANGEROUS LADY
Chris Howard: BUGS, HEAT OF THE SUN, PEAK PRACTI CE
Seamus Mc Garvey: WAR ZONE, JUMP THE GUN, THE WI NTER GUEST
The latest wave of new members of the British
Society Of Cinematographers has just been
announced: Henry Braham BSC, Oliver
Curtis BSC, Gavin Finney BSC, Daf Hobson
BSC, John Hooper BSC, Chris Howard BSC,
Seamus McGarvey BSC.
The ARRI Group would like to extend their
congratulations to all the new members.
ARRI is delighted to see so many of our
friends receive their due recognition for
their talent and hard work. Membership of
the BSC is the ultimate accolade for a DoP
from his peers, and indicates that they have
reached the summit of their profession.
The BSC was established in 1947 follow-
ing a suggestion by Bert Easey that feature
production cameramen in the UK needed a
non-political guild or society to mirror the
ASC in America.
The Society was established with the follow-
ing objectives:
to promote and encourage the pursuit of
the highest standards in the craft of motion
picture photography.
to further the application by others of
high standards in the craft of motion pic-
ture photography and to encourage origi-
nal and outstanding work.
to cooperate with all those whose aims
and interests are wholly or in part related
to those of the Society.
to provide facilities for social intercourse
between the members and arrange lectures,
debates and meetings calculated to further
the objectives of the Society.
The seven new members, join the current
total of 254 full, honorary, associate and
patron members.
This years induction sees a refreshing injec-
tion of youth, with several of the new mem-
bers in their early 30s. The ARRI Group is
delighted to be associated with many of
these eminent cameramen, and are proud
to have serviced many of the projects that
have led to this recognition.
GB/TR
19
British Short Film
Grabs Oscar Nomination
team worked out of the kindness of their
hearts and ARRI Lighting Rental provided
the lighting and generators for the six-day
shoot.
Barney started his film career as a run-
ner/tea-boy in 1977 and worked his way
through the ranks of location manager,
production manager to producer on the
recently released award-winning WOOD-
LANDERS. Barney is developing the knack
for recognizing a good project and run-
ning with it.
He has collaborated with ARRI Lighting
Rental on several projects like BLUE- I CE
and MURDER I N MI ND. When Barney
came to us with his idea for I TS GOOD TO
TALK, said Tommy Moran, Managing Di-
Kodak Awards
Commercials Young Guns
A heavy emphasis on real-world practicali-
ty marks the latest of many areas of invest-
ment by companies like ARRI in the future
of our industry. The Kodak Student Awards
are for the hard-headed business of com-
mercials and the entries have to meet a
live brief, professionally prepared for real
products or services by the companys ad
agency. The judging panel, too, was drawn
entirely from industry professionals.
This years overall winner was producer
Colin Teague and his team of fellow stu-
dents from the London International Film
School with a striking commercial for Max
Strongbow Cider. The commercial itself is
styled like a pop promo, lots of tight, fast
cuts, and a lively, colourful club setting
the right ambiance for both the product
and the audience.
In total, there was an impressive entry for
the 1997 Awards with 1500 initial appli-
cations that led to 57 completed films. Not
surprisingly, the resources required for that
volume of film-making were considerable
and the main sponsors, Kodak, provided
each entry with a roll of 400ft of 16mm
colour negative film.
The winning team were supplied by ARRI
Media and Colin Teague with his joint
DoPs Philipp Blaubach and Orit Tephey
were warm in their recognition of the com-
panys support. The film, in fact, also gained
an Award placing for its cinematography.
The main prize, won by Colin and the LIF
group, was again thoroughly practical
1,000 worth of Kodak stock as well as
a handsome trophy which the School will
hold.
At 27, Colin Teague already had some five
years working experience as an actor in
both films and the theatre before deciding
to take the big step of returning to school
to expand his career into film-making. Now
in his second year at the London Interna-
tional Film School, he commented that the
Award exercise was: a wonderful practical
help as we approach graduation. Its rec-
ognized in the industry so it gives us extra
credibility for the future.
His enthusiasm for the practical concern
and help given by ARRI Media drew an
equally positive response by the company
who commented on the high level of pro-
fessionalism shown by all the students in
their contacts.
GB/DH
Barney Reisz producer from Feasible Films
was ecstatic when his latest production I TS
GOOD TO TALK was nominated for best
live action short film amongst several other
British Oscar nominees. His 13 minute
short film is a black comedy about the trials
and tribulations of a variety of people pla-
gued by the breakdown of their life-line
the telephone. The film stars Martin Clunes of
MEN BEHAVING BADLY fame, Sean Hughes
and Steven Mackintosh and was directed by
Roger Goldby. Like any short film, getting
the finance together is often more of a chal-
lenge than shooting the production but Tim
Rice at The Foundation for Sports and the
Arts came up trumps and provided the nec-
essary 15,000. The cast, Director of Pho-
tography, James Bloom, Gaffer, Andrew
Bailey, the entire crew and post production
rector ARRI Lighting Rental, our past expe-
rience with his production talents gave us
confidence to help out.
Getting the film made with help from com-
panies like ARRI is only half the battle,
says Barney the next hurdle is trying to get
it released in the cinemas. I really wish the
cinema owners could find a way to support
short films and let their audiences have a
chance to sample our work.
Barney has an infectious personality and
coupled with his growing experience with
successful films, this producer will be some-
one to watch.
TM/JW
20
A Simple Tool For Flashing Film
When I bought my Varicon in 1994, I did some initial LAD (Lab Aim
Density) tests. I went on to use it on a number of theatrical films and
commercials. Recently, I wanted to revisit the Varicon and plot the
resulting characteristic curves of the film. I knew it worked. I liked the
results, but my curiosity of how it affected the film drove me on.
This article is the result of that journey.
The ARRI Varicon

What is the ARRI Varicon?

The easiest way to think of the Varicon is to
think of a piece of glass that glows in front
of the lens. If you havent seen the Varicon
in action, its very unusual in that the lens is
usually one of the darkest areas on the set.
But when the Varicon is turned on, the filters
in the matte box glow. Ive put red, green,
CTBs, CTSs, sepias, and other colors into
the Varicons filter slot, and had actors com-
ment about something-unusual going on in
the camera lens. Its true. The history of the
Varicon goes back to the Lightflex first used
on YOUNG WI NSTON. Freddie Francis used
it on GLORY, and its been used on a multi-
tude of projects, including many of my own.
21 21
Some Background
on Flashing or
Pre-Exposing Film
N-6 N-5 N-4 N-3 N-2 N-1 Normal N+1 N+2 N+3 N+4 N+5 N+6
1 2 4 8 16 32 64 128 256 512 1024 2048 4096
1 1 1 1 1 1 1 1 1 1 1 1 1
2 3 5 9 17 33 65 129 257 513 1025 2049 4097
Why would one want to flash film?
Among the reasons a cinematographer
flashes the negative is for contrast control.
In a daylight situation where s/he doesnt
have the necessary equipment to light the
deep shadows, flashing is an option. At
the opposite extreme, in a night exterior
where budget and time constraints limit the
amount of lighting units available to illumi-
nate the shot, flashing may be a good op-
tion. Beyond that, there are creative choices
a director of photography may employ. For
example, on EVI TA Darius Khondji used the
Varicon in combination with other filters in
different parts of the film for artistic effect. I
spoke with Vilmos Zsigmond about flashing
film, and he told me in the past that he used
the lab to post flash MCCABE & MRS. MI LLER
10% to 25%. He varied the amount de-
pending upon the desired effect. Some of
the results from flashing the film are slight
desaturation, more information in the shad-
ow detail, and in extreme uses, fogging,
and tinting the film.
What part of the characteristic
curve is affected, and why?
Flashing only affects the toe of the curve.
The reason for that is evident if one looks
at the following table for a hypothetical
flash of a negative film emulsion.
The top row indicates the stop above and
below Normal. The second row indicates
the amount of exposure necessary to achieve
the density at each stop. If N-6 needs one
foot candle (fc) of exposure, 2 fc would add
one stop more density for N-5. Two times 2
fc is 4 fc, for N-4, etc. The third row indi-
cates the overall flash necessary to achieve
the N-6 density. The forth row is the cumu-
lative density of the flash added to each
stops density (for clarity its indicated as
foot candles). As you can see, the effect is
greater when there is less light, or density,
involved. The 1 fc necessary to achieve the
N-6 density immediately lifts N-6 to N-5.
N-5 is lifted half way to N-4 for 50% added
density. N-4 adds 20% density while N-3
only adds about 11%. N-2 adds only about
6% density, and so on. I think this clearly
demonstrates why a flash only affects the
toe of the negatives characteristic curve. If
you look at the characteristic curves I plot-
ted with the Varicon, you will note that they
fall fairly close to the hypothetical example
above. Also, I only plotted the toe of the
curves, i.e., Base Fog to Normal. If you
looked at the densities from Normal and
above, you would see there is very little di-
vergence from the LAD Reference densities.
Why not let the lab flash the film?
Most labs wont flash film because of the
liability involved. Pre-flash liability includes
scratching the raw stock, inconsistent den-
sity, the raw stock picking up dust or dirt,
etc. The labs point of view is that they are
in the business to develop negative and
make prints. The creative aspects of flash-
ing film really lies outside the area of their
responsibility. Plus its a rather large incon-
venience for them to perform this service. If
the cinematographer wants to post flash the
film, i.e., flash the film after exposure, the
lab still doesnt want the liability of possibly
scratching, or in some other way, damag-
ing the film.
What is a 10% Flash?
In the simplest terms, a 10% Flash is actually
added density of .1 over D
min
. If one looks
at D
min
, and the density of 1 stop over D
min
,
or even 2 stops over D
min
, there is no corre-
lation to a 10% Flash. A 10% Flash on the
Reference column would equal:
.56+.1=.66 N-4=.68
Its a matter of convenience that has evolved
over time to call .1 over D
min
a 10% flash.
A 5% flash should be .05 over D
min
, and a
15% flash should be .15 over D
min
. Proba-
bly what happened is someone noticed the
decimal point in front of the one and decided
5274 ARRI ARRI ARRI
LAD Varicon Varicon Varicon
Reference LC 1/2 LC 1 LC 2
Base Fog .57 .60 .62 .70
N-6 .58 .60 .63 .71
N-5 .60 .61 .63 .72
N-4 .65 .69 .70 .78
N-3 .79 .85 .87 .93
N-2 .97 .98 .98 1.00
N-1 1.14 1.15 1.15 1.17
Normal 1.34 1.35 1.36 1.37
N+1 1.48 1.49 1.50 1.50
N+2 1.63 1.63 1.63 1.64
N+3 1.80 1.80 1.81 1.82
N+4 1.96 1.95 1.95 1.95
N+5 2.07 2.08 2.08 2.08
N+6 2.18 2.17 2.17 2.18
Dmax 2.44 2.44 2.44 2.44
ARRI Va r i c o n
. 50
. 60
. 70
. 80
. 90
1. 00
1. 10
1. 20
1. 30
1. 40
B
a
s
e

F
o
g
N
-
6
N
-
5
N
-
4
N
-
3
N
-
2
N
-
1
N
o
r
m
a
l
22 22
it must mean 10 %. This is another film
misnomer like MOS. Anyway, look at the
charts to see the results.
For this test I set the amount of light with
the electronic meter ARRI provides with the
unit. In practice, I usually set the unit by eye.
ARRI has further developed a method of
setting the contrast with two small dark
rectangular sections on the bottom frame of
the Varicon. The Varicon isnt gauged in
percentages, ARRI chose to use LC (Low
Contrast) numbers. The 5274 Reference
densities show the potential D
min
and a com-
parison of densities at each setting. If we
look at the Reference D
min
of .57 density,
an equivalent 10% Flash would be .1 added
density to .57 (D
min
) for a Base Fog density
of .67. About LC 1
1
/
2
would equal a 10%
Flash. LC 2 is .13 over D
min
for about a 13%
Flash. The other aspect to note is the shape
of the characteristic curves. The Varicon
lifts the toe proportionately, grows in density
to N-3, and rejoins the reference curve at
about N-2. This bulge, or non-linear aspect,
is something I noticed when I did my initial
tests on the Varicon in February 1994. I
find this aspect of the tool most interesting
since I can change just a portion of the im-
aging characteristics of the negative. For
example, if I want to shift the mid-range
tones warm, I could use the complementa-
ry cool filter in the Varicon filter slot. Later,
I can ask the timer to time the shadows
neutral which will cause the mid-range to
shift. I recently did that on a show, and I
liked the results of specific density coloration.
Contrast Compression.
In the new information ARRI supplies with
the Varicon, they mention that cinemato-
graphers can compress the highlights by
using the Varicon in a particular manner.
ARRI supplies a N .3 filter to cut the expo-
sure 1 stop when the Varicon is set at a
minimum setting of LC2. I know from my
experience, I gained almost a stop of film
speed with the Varicon set between LC1
and LC2 my normal setting. One of the
reasons I like the Varicon, is the increase
in film speed I can achieve. Increasing the
EI by one stop, from EI 200 to EI 400
without push processing and increasing
grain, is sometimes a tremendous advan-
tage. If one approached this issue from
another point of view, s/he could retain
the 1 stop of film speed in the toe, while
decreasing the highlight density by 1 stop.
For example, if I lit a scene for EI 200,
I would keep the scenes lighting contrast
within that range. But with the ND.3 in
front of the Varicon, the negatives expo-
sure from the scene is EI 400, while the
effect of the Varicon is calibrated at EI 200.
With this approach, the high lights will have
1 stop less density while the toe is lifted
with the Varicon. If a cinematographer ap-
proached a project with this in mind, the
results could be stunning with rich shadow
details while the highlights dont block up.
Its sounds like a technique to use with the
slow and contrast daylight stocks.
Some thoughts about skip bleach
process and negative flashing.
One technique I havent had the opportunity
to use is the skip bleach process on the
negative or one of the steps to the print, or
the release print itself. I was talking with
23
DoP Freddie Francis
Freddie Francis BSC, ASC:
Im really surprised that more people
dont use the ARRI Varicon. As a DoP, one
of my roles is to get the job done as quickly
as possible so if I can get away with using
much less light then Im saving time. Another
factor is that today the modern lenses are far
too sharp for my liking and the Varicon
helps me get a non-reality look rather than
an everyday look. It does it by knocking
the definition and reducing the contrast. Ive
worked on a lot of pictures and however
big the budget is for a picture there is nev-
er enough money for the lights particularly
when you are trying to light a large night
exterior. Using the Varicon you can give the
illusion that the lighting goes on forever
Mark Van Horn about this process after
viewing the skip bleach test he oversaw at
Foto-Kem. I proposed the idea that if the
original camera negative was flashed to lift
the toe and increase shadow detail, the
contrast could be put back in a later stage.
He agreed. In fact, he said on a couple of
the projects, the prints were flashed to de-
crease contrast at that stage. There are
many aspects I like about the skip bleach
process, but one thing I dont like is the loss
of shadow detail. Flashing may provide a
partial solution for that.
Varicon Testing Methodology.
Since the light from the Varicon comes
through the lens during exposure, I had to
consider the testing method. With the Varicon
I couldnt change the lenss T/stop since
that would directly affect the amount of light,
or flash, the film would receive. Consequent-
ly, I had to expose my gray card at a con-
stant T/stop, but I could change the amount
of light, the camera speed, and the shutter
to achieve the desired T/stop.
Some notes about the
characteristic curve charts.
D
min
is the base fog of the film. If the film
isnt fogged, this is the clearest, most trans-
parent part of the film. Obviously if the film
is flashed (i.e., fogged), the potential D
min
remains constant, but now we have to
measure the new density results as Base
Fog, not D
min
. It is upon the Base Fog that
our images are built. If we start at a true
D
min
, there is a greater contrast range. If we
flash the film, we decrease the contrast
range.
On the charts, I dont list D
min
separately
since I feel it would be confusing. D
min
hasnt
changed, but what I did to the film has
changed the Base Fog density. The 5274
reference column indicates D
min
in the Base
Fog row. The numbers to the right indicate
the resulting Base Fog from the Varicon.
Finally, to keep things simple, Ive only indi-
cated the green layer since were only talk-
ing density and the shapes of the character-
istic curves. You can imagine what a mess
these charts would be with the RGB lines of
only two characteristic curves overlaid! On
the note of color temperature and emulsion
tracking, the Varicon tracked true at 3200K.
Its a wrap!
Ive owned and used the Varicon for a num-
ber of years, and am always amazed when
I come back to it after I havent used it for
awhile. A good friend of mine asked me,
What are you doing with all this technolo-
gy? He was referring to the trend of many
cinematographers to use clean lenses, and
producers requests that we dont manipu-
late the film since its going to go through
so many processes in post-production. I
thought a moment, and said, Im after the
vision, and Ill use anything I need to achieve
it. This is a tool thats very versatile, and
can be used in many different ways. As a
working cinematographer, I need all the
tricks and tools I can master to lift the images
above the ordinary.
Mark Woods
24
Christian Brckstmmer
The Challenge of
P
H
O
T
O
S
:

A
L
E
X
A
N
D
E
R

W
E
I
S
S
What makes a good lens? What does the
future hold for lens design? These questions,
and others, were the subjects of a detailed
workshop held recently at ARRIs Studio 2
in Munich. Sponsored jointly by ARRI and
the BVK, this workshop brought together
optical designers, engineers, cinematogra-
phers and assistants to discuss current lens
design and to look into the future of lens
technology.
Experts from ZEISS were on hand, as well
as Christian Brckstmmer of ARRI, author
of the following report. Mr. Brckstmmer
has been in ARRIs quality assessment de-
partment for twelve years and is responsible
for the optics laboratory. One of his many
tasks is to help formulate specifications for
new lenses in collaboration with ZEISS and
ARRI. Data gathered from camera operators
from around the world must be translated
into technical terms, which enables the lens
to perform to calculable and verifiable di-
mensions. Some requirements are due to
the peculiarities of the moving image as
opposed to still photography, others come
from the combination of lens and camera
as an optical system.
Working with ZEISS, Mr. Brckstmmer
takes information gathered by ARRI through-
out the world to make the camera operators
desires reality. The requests and ideas of
the artists are transformed into concepts,
then designs, and finally finished products
in glass and metal. Although this process
has been speeded up with the advent of
computer assisted optical designs; it remains
a long and arduous task.
What should a new lens offer? What techni-
cal parameters must it meet? Lets go through
the process and see what is actually inv-
loved.
A Workshop at ARRI
Cinematography is perhaps the most technical of the art forms. Filmmakers
express their ideas through images captured on film. A critical element in
this process is, of course, the lens. Every performance no matter how subtle,
every action shot, no matter how complex, must ultimately travel through
the lens to be recorded on film. The lens is therefore the most critical element
in the filmmaking process.
Optical Design
25
MTF up to 40 Line Pairs
It is a given that a precision lens should
capture exactly the images which the cam-
era operator has in mind. It should create
on film a sharp image of the subject con-
cerned. But what is the measurable quantity
by which image sharpness can be mean-
ingfully described? Is it only resolution? The
ability to depict the finest possible detail?
For the most part, it depends on the particular
application of the lens. For a lens used in
photo reconnaissance in an aircraft or satel-
lite that may be a realistic requirement. Such
an optic must be able to reproduce the finest
possible details, even under great magnifi-
cation with the help of electronic image pro-
cessing. For cinematography, however, the
situation is somewhat different.
For motion picture, applications the image
created on the negative must go through a
number of processing steps and prints be-
fore the audience can see it in the theater.
Each lab process detracts slightly from the
quality of the image.
We examined this processing chain in
ARRIs lab and post facilities in Munich
and established that the finest visible struc-
tures in a release print were about 40Lp/mm
(line pairs per millimeter). In optical terms,
we refer to this as the spatial frequency.
It is also about as much detail as the human
eye can resolve in an image projected onto
a typical theater screen.
Therefore, any higher resolution detail in
the image captured on the negative will
not carry through to the final print. While
the human eye may not recognize detail
above 40Lp/mm on the theater screen, it
is important that the structures at 40Lp/mm
be reproduced with high contrast. In techni-
cal terms, the lens must have a high mod-
ulation transfer function MTF up to
40Lp/mm.
10Lp/mm are sufficient with
moving objects
Unlike still photography, the cinematographer
works with relatively long exposures. An
exposure time of 1/50 is common. Moving
objects are therefore depicted with a notice-
able unsharpness of movement. The high
contrast rendering of coarse structures at
about 10Lp/mm is very important. Only
when low spatial frequencies of about 10Lp/
mm are reproduced with high contrast can
the resulting image appear brilliant. Further-
more, lenses for motion picture applications
should possess high contrast, not only when
stopped down, but also at maximum aper-
ture. It is also important that this high con-
trast be evident not only in the center of the
image, but over the entire image area.
In summary, a film lens with a resolving
power of 150 Lp/mm will show no improve-
ment of the image. A good practical test is
to rely on what you see on film on the screen,
not what you can see under the microscope.
If you use a test projector to check your lens-
es, dont only examine the finest resolved
detail but rather take a few steps back and
view the entire image, edge to edge.
Stray Light
Of course, modern optics computers and
software can design a good optical system.
But the designer must carefully consider the
stray light rays of the optic bundle as they
enter into and travel through the lens. Stray
light will cover the image like a veil and will
make high contrast images impossible. Each
lens element edge must be coated with a
special black paint. Each surface in the in-
terior of the lens that could reflect stray light
must be coated as well. Lens diameters must
be optimized for performance with stray
light canceling elements included as an ini-
tial design consideration. The components
of the lens mount must also be made care-
fully reflection-free by using anti reflex ridges,
matte black paint or flocking. The same, of
course, applies to the camera housing.
If lenses are used that cover a larger format
area than is necessary, you risk bringing a
lot of stray light into the camera that ultimate-
ly degrades the image. This can be a prob-
lem when lenses designed for the still for-
mat are used for motion picture applications.
Anti-Reflex Coating
Reflections can also contribute to decreasing
contrast on individual lens surfaces. A glass
surface reflects approximately 5% of the
light that strikes it. This reflection reduces
light transmission. With six elements, for
example, the effective transmission can be
reduced by up to 55%.
Still more disturbing are multiple reflections
inside the lens itself. These internal reflections
can cause stray light to be directed toward
the image plane. A significant increase in
transmission and an equally significant re-
duction in internal reflections are necessary
and possible via the use of anti-reflex coat-
ings on all element surfaces.
Aperture induced Focus Shift
A further point, which the optical designer
needs to take into consideration, is focus
shift. This term describes a characteristic of
many lenses that displace the focus plane
with changes in the diaphragm opening. In
simple terms, this means that unless the lens
is well corrected for this error the index on
the focus scale is only totally correct at one
aperture setting, or that a second index mark
is required when the lens is stopped down.
This means that the focus in the viewfinder
may not, under some circumstances, coin-
cide with focus at the film plane. What is
sharp to your eye in the viewfinder may
not be sharp on film. Unlike film, the cam-
eras viewfinder cannot register all the light
coming through the lens when the aperture
is wide open. Some of the light will be scat-
tered on the ground glass, while some will
go directly through it to reach the cinema-
tographers eye. Most of the time, the view-
finder represents the lens as when it is
stopped down to 2.8 or 4. If focus at the
maximum aperture does not match this set-
ting, the viewfinder can no longer be used
for reliable focus. To combat this, ZEISS
Optical Design
26
wor ks hop
Michael Koppetz (ARRI)
Dr. Zgge (ZEISS)
Michael Koppetz and
Christian Brckstmmer
lenses for ARRIFLEX cameras are optimized
for a minimal difference in aperture related
focus shift and require only a single index
mark.
Color Match
All lenses must, of course, be color matched
together so that there is no shift in color
when changing lenses. The color character-
istics of lenses must be as neutral and uni-
form as possible. All ZEISS lenses comply
with German and international standards
that stipulate very tight tolerances for color
reproduction of photographic lenses.
Close up Work
Motion picture and still lenses are usually
optimized for shots at greater distance, as
this is the most common application. At close
range, errors such as image area curvature
and aperture aberrations tend to increase.
This decreases contour sharpness and the
images have less contrast. It is imperative
that our lenses offer good image quality at
infinity and that they are fully corrected for
close up work.
Chromatic Correction
Due to dispersion, chromatic image errors
occur. The term dispersion means the char-
acteristic of optical glasses to break light of
varying wavelengths in different ways. This is
an additional chore for the optical designer
who must correct these errors by selecting a
combination of various glasses to eliminate
color fringes and other errors.
Diffraction
Due to diffraction, straight lines in the image
appear to be bent. Diffraction can be par-
ticularly annoying if, for example, the straight
edges of buildings are depicted near the
outer edges of the film format. The lens de-
signer must, therefore, attempt to keep dif-
fraction as minimal as possible. It should be
noted that ZEISS lenses, even as wide as
the 10mm Distagon, diffract only minimally.
Uniform High Speed
A set of lenses with a high uniform speed
is desirable. In still photography, it is not
uncommon to find wide angle and telepho-
to lenses with a stop of 2.8 or less. These
lenses normally are calibrated only with
the f-stop, which describes a geometric ap-
erture ratio. This value is only partially suit-
able as a standard for speed. Film lenses,
on the other hand, utilize lens transmission
or T-stop as a standard for exposure.
All ZEISS lenses for ARRIFLEX cameras are
high speed. The standard set has a maximum
aperture of T2.1 and a range from 10mm
to 135mm. The Variable Primes, one of our
newer designs, have a maximum aperture
of T2.2 and a focal range from 16mm to
105mm. Finally, our Super Speed lenses
have a maximum aperture of T1.3 and fo-
cal lengths ranging from 18mm to 85mm.
27
Mechanical
Design
Optimization for the Format
Of course, all of these requirements can only
be optimized by an optics computer if the
lenses have been conceived for a particular
format either 16mm or 35mm. It is not
possible, for example, for a photographic
lens originally designed for a much larger
format to meet all these requirements. It
would be highly unlikely to find a diffraction
free 10mm lens with a maximum aperture
of 2 optimized for the Super 35 format in
the typical range of still photography lenses.
A good mechanical design must, of course,
be complemented by solid construction of
the lens and precise manufacturing proce-
dures. Only then will all the components
come together, which ultimately make a
good lens.
Exact Focusing Scales
Particularly high standards are placed upon
the focusing scales of motion picture lenses.
The focus scale must match exactly with the
measuring tape. The viewfinder serves as
an additional focus control. All three ele-
ments, the focus scale, the measuring tape
and the eye focus through the viewfinder,
must match precisely. Motion picture lens-
es, as opposed to still lenses, take into ac-
count the small variations in tolerance that
occurs in manufacture. All ZEISS/ARRIFLEX
lenses are calibrated individually and
equipped with a matching focusing scale.
Flange Focal Distance
A correctly adjusted flange focal distance
is necessary to create the optimal focus on
the film itself. The cameras flange distance,
the distance from the lens mount to the film
plane can be easily measured with a sim-
ple gauge.
To set the lens flange focal distance is some-
what different and more complicated. The
reference is measured from the lens flange
to the focus plane of the lens when the lens
is in the infinity position.
For simulation of an optical infinity object
distance, a collimator lens is normally used.
In its focal plane is an illuminated test. The
collimator must completely and evenly light
the entrance to the pupil of the lens to be
measured or the measurement will be inac-
curate.
The second step is the technical measure-
ment and analysis of the image displayed
by the lens to be measured. This aerial
image has a certain depth, the depth of
focus. Various settings thus can deliver vary-
ing image quality. It is necessary, therefore,
to determine the optimum possible image
quality in order to decide in which plane
it is best.
This task is accomplished by measuring the
modulation transfer function (MTF). At ZEISS
and ARRI from the first design of the lens
through the quality control and manufactur-
ing process, to alignment of the flange focal
distance, an unified criterion is used for eval-
uating image quality the MTF. MTF virtual-
ly eliminates human interpretation errors and
is recognized today as the worldwide stan-
dard for measuring and evaluating lenses
for their image quality.
It is important to be aware of the spectral
quality when measuring lenses. Light, as we
all know, is made up of rays of varying
wavelengths. Image quality and focal plane
distance are clearly different for various
wavelengths or spectral ranges. This requires
a lens to be measured according to its prac-
tical application. The spectral quality of the
measuring device must be similar to a col-
or film of mid spectral sensitivity. A green
filter such as often found in collimators lim-
its the spectral range and lenses which are
aligned according to such a device cannot
deliver optimal focus to the film under normal
white light conditions.
Compact Size and Durability
Lenses should follow modern camera designs
and remain lightweight and compact. A
solid mechanical construction also guaran-
tees that they will be able to withstand heavy
use. If the camera is on a tripod, the size
and weight of the lens is of a lesser concern.
Once the camera is in a hand held mode,
every ounce counts. The lens must be of a
suitable size, however, for optimum optical
design as well as ease of operation. Overly
compressed focus scales makes the assis-
tants job difficult. A compromise must be
struck between size, performance and ease
of use. It is not logical to disregard size and
weight completely when designing lenses
28
wor ks hop
because, on the camera side, we literally
fight for every ounce of weight. The fixed
focal length lenses form ZEISS for ARRI
cameras are compact and lightweight, while
delivering outstanding imaging parameters.
High Mechanical Precision,
Minimal Play
It is very important that all mechanical com-
ponents of a motion picture lens exhibit
minimal play. One must be able to set focus
precisely without any backlash. When focus
direction is changed, there can be no im-
age jump. Many still photo lenses have this
image jump, particularly lenses on auto focus
cameras. These lenses are specifically opti-
mized for low torque and consequently,
cannot meet the demands placed on motion
picture lenses.
Minimal Aperture Overlap
Cams for the iris leaves must also be made
to an exacting standard. We take particu-
lar care that the lenses have no aperture
overlap. This guarantees that you get the
same aperture setting each time you set the
lens, regardless if you are opening or clos-
ing the aperture.
Torque, Temperature Range
All operational functions of the lens from
focus setting, adjustment of focal length,
and iris setting must move smoothly and free-
ly without binding. Lubricants must be cho-
sen accordingly so that torque on the focus-
ing ring does not go beyond the specified
values within a temperature range of -20C
to +60C.
Uniform Diameters
All the operating interface surfaces on the
lens must be as uniform as possible. Geared
focus and iris rings must be the same from
lens to lens to insure easy integration with
follow focus units and lens control devices.
All ZEISS-ARRIFLEX lenses in a set have
unified diameters for the operating rings. The
front diameter of these lenses, with the ex-
ception of very wide angle lenses, are also
uniform to eliminate the need for additional
lens bellows rings on the matte box.
Sound Proofing
Synch/sound cameras operate silently. Lens-
es, therefore, need to be designed to mini-
mize sound transmission. ZEISS-ARRI lens-
es are equipped with special noise isolation
materials to prevent sound transmission
through the lens.
Quality Control
To insure that all lenses meet our exacting
standards, they are all checked at ARRI
one by one. Lenses are inspected visually
for cleanliness as a first step. Image quality
and flange focal distances are then checked
on MTF measuring devices. Next the lenses
are tested on a lens projector and checked
for even image performance. At the same
time, the precision of the focus scale is tested.
All lenses are then tested for mechanical
ease of operation of focus, zoom and iris
rings. Finally, an aperture measurement de-
vice re-checks the aperture scale.
Through this rigorous quality check we in-
sure that only lenses which will satisfy our
industrys high demands leave our premises.
Christian Brckstmmer
29
Camera-Workshops
at TCP, Paris
Cine Equipment,
Singapur
The new integrated video system IVS and
the Variable Primes lenses naturally met with
particular interest, reports Yves Clanet, sales
manager for TECHNI CINE PHOT. But in
general the workshops were so popular that
we will organise further events. More people
registered their interest on the strength of
our invitations than we were able to accom-
modate in our seminars.
At the camera workshop which took place
at the end of January, TCP demonstrated
the ARRIFLEX 535B, 435 and 16SR3 on
their premises. To guarantee a high level at
the workshop, TCP limited the number of
participants and set a further date for a
second workshop in April. In total over 100
registrations were received. 50 each cam-
eramen/women and assistants, split into
four groups, took part in the individual
training sessions. Gnther Zh and Heide-
Evi Jacob from ARRI Munich joined the
French team of Yves Clanet, Bernard Thuault
and Dominique Faucher with technical pre-
sentations.
At the end of the workshop participants
and organisers were extremely satisfied.
Yves Clanet: For the cameramen and assis-
tants its a one-time opportunity to become
intimately acquainted with the cameras in
a quiet setting. And we can demonstrate
the ARRIFLEX cameras and the associated
technical and creative possibilities. The
Normally found in front of the camera an-
swering questions, Datuk Leo Moggie the
Malaysian Minister for Energy, Telecommu-
nications and Postal Services wanted to
change sides. At the Asia Cable Satellite
Broadcast Exhibition on the Cine Equipments
stand, ARRIs representative in Singapore,
he watched the happenings at the exhibition
through a 435 viewfinder.
170 exhibitors from 20 countries presented
their latest developments in communications
technology at the first Asia Cable Satellite
Broadcast Exhibition.
Datuk Leo Moggie (right),
Mak Wenig Kit by Miller Freeman (left)
workshop offered participants practical ac-
cess to the technology and showed them
various possibilities for using it. At the end
of the workshop attendees were unanimous
in their desire for more frequently held semi-
nars. TECHNI CINE PHOT will offer fur-
ther events from September 1998 onwards.
TCP
30
for the ARRIFLEX 435
The newly developed single frame switch-
ing device for the ARRIFLEX 435 now of-
fers a comfortable control for exposing sin-
gle frames. With the new single frame hand
control unit a multitude of parameters can
be pre-programmed. Access to all individual
frame functions is possible via an RS 232
interface.
Also developed recently is the Integrated
Capping Shutter which considerably simpli-
fies work compared to the other capping
shutters currently in use.
Single Frame Hand Control:
With the robust hand control unit, the fol-
lowing functions can easily be controlled
and set:
Exposure time from 1/8s to 999s with a camera shutter
angle of 180. With a camera shutter angle of 11.2
the shortest exposure time is 1/128s
Intervallometer operation with intervals of 1s to 99 hours
and 59 min.
Repeat counter (burst) from 1 to 99
Fully automatic control of the ARRI Integrated Capping
Shutter
Signal output to activate an external Capping Shutter
Trigger input
Automatic signal to switch on light sources in
intervallometer operation
Signal output to activate a flash
Input to the socket for an external light meter to match
exposure time to the current lighting conditions
Available approx. October 98
Integrated Capping Shutter:
On reflex cameras the mirror shutter usually
is not sufficient for lengthy breaks between
two frames the shutter is simply not light-
proof enough. Therefore, for single frame
shots, normally an extra capping shutter is
attached in front of the lens and is opened
only for the time of the single frame. This,
however, has the disadvantage that the
image cannot be viewed through the view-
finder as long as the capping shutter is
closed. To avoid this, ARRI has now devel-
oped a newly patented capping shutter.
The main feature of the new Integrated
Capping Shutter is a shutter which is attached
behind the mirror reflex shutter, thereby
preventing light from falling on the film. With
this principle, it is always possible to look
through the viewfinder. With the ARRI Inte-
grated Capping Shutter the time between
exposures has been extended with respect
to the light-tightness of the shutter assembly
to approx. 1 hour.
Single Frame
Shutter
A further advantage is that the area in front
of the lens, for example for filters or a matte-
box, remains free. This new solution displays
compactness and a considerably quicker
reaction time compared to normal capping
shutters.
31
New Accessories
for the Lens Control System
The Controlled Lens Motor 2
(CLM-2):
The well-known features of the CLM-1 were,
for the most part, kept but the external con-
tours and weight have been considerably
reduced. Due to the new construction, the
CLM-2 is now better suited for shoots where
weight or dimensions are important, such
as in a Steadicam operation.
The CLM-2 is designed for the 19mm sup-
port rods, where it can quickly be attached
with the existing tilt/clamp device. For
15mm diameter rods there are two adapter
pans available. For difficult-access lenses
there is also a console with adapter rods
which fits onto both 15 and 19mm support
rods.
The maximum regulating speed of the CLM-1
motors was maintained, the maximum
torque, however, was slightly reduced. In
an operation of up to 3 CLM-2s it would
be necessary to use a UMC-1 instead of
the LC-S1. Additional accessories available
are the larger gear (65Z, module 0.8) for
higher speeds or greater distances to the
lens, and a normal and a large gearwheel
in module 0.5 for video lenses. The iris
module on the CLM-1 and the pinions for
the ARRIFLEX 765 also fit onto the CLM-2.
The Universal Motor Controller
(UMC-1):
The UMC-1 is designed for attaching three
CLM-2 motors and can be controlled both
by cable and with the radio-LCS, which is
currently designed. The new unit was con-
ceived especially for controlling CLM-2 mo-
tors, but it is also compatible with existing
LCS-components such as the CLM-1, ZMU-1
and FIU-1. When used with CLM-1 motors,
the UMC-1 takes over the functions of the
LC-S1 power module regardless of whether
the motors are powered by the camera or a
separate battery.
The camera functions are activated via the
CCU-socket (RS-232 interface). In this case,
the connection to the RCU-1, CCU or LCC
is carried out by radio with full functioning
range available as with cable operation. If
only the RUN/STOP function is needed,
attachment of the UMC-1 to the RS-socket
is sufficient. For older cameras it should be
attached to the 11-pin accessory socket.
Radio operation is uncomplicated. The
UMC-1 enables remote control of all three
adjustment axes separately, allowing each
function to be guided by a separate remote
control unit. Of course focus, iris and zoom
as previously, can be combined in one re-
mote control unit.
Technical Data
Working temperature range -20 - +50
(-4 F to +122 F)
Power supply 24V DC
12V DC (with reduced
speed)
CLM-2
Max. torque 0.65 Nm
Regulating speed 1 U/s at 0.25 Nm, 24 V,
standard gearwheel
Working range 8 revolutions (gearwheel)
Noise level <22.5 dB(A) at 0.5 U/s
Positioning exactitude <0.5 (max. half line
strength on the lens)
Cable length max. 2m (6.5 ft) between
motor and UMC
Weight CLM-2: approx. 0.28 kg
(0.6 lbs.)
Accessories CLM-2 Console: approx. 0.07 kg
(0.15 lbs.)
Gearwheel Z65/m0.8;
Z80/m0.5; Z104/m0.5;
Pinions for ARRIFLEX 765
Iris drive
UMC-1
Dimensions 118 x 69 x 37mm
(4.6 x 2.7 x 1.4)
Weight UMC: approx. 0.28 kg
(0.62 lbs.)
Sockets 3x CLM-2
1x RS
1x LCS-bus
1x CCU
Accessories: Zoom unit ZMU-1:
approx. 0.4 kg (0.9 lbs.)
Focus/Iris control unit
FIU-1: approx. 0.4 kg
(0.9 lbs.)
Memory module MEM-1
Iris control unit ICU-1
Pivoting pole holder
Cable reel
32
Alex Scott
These days, when Alex Scott goes
on location, he takes his lap-top
computer, portable printer and a
modem. So, with his lighting list on
the PC, if he wants to change any-
thing he can print and fax it, or in-
creasingly e-mail whichever lighting
company hes working with. Hes
just got himself a digital scanner so
he can send rough drawings of how
he wants something made via the
Internet. Having joined the Web
he was also surprised to find his
own details on a film technician da-
tabank.
This is a far cry from his start as an ap-
prentice to a Belfast firm of domestic elec-
tricians. In those early 70s, there was liter-
ally no film lighting company in Northern
Ireland. When BBC Belfast needed local
support they called Alexs boss who sent
him off in a van complete with a load of
100 watt bulbs he was then somewhat
thrown by the first request to get out the
redhead.
The experience persuaded him that this was
the life and he joined the BBC Belfast OB
unit. In turn, they loaned him to the film
unit and his love affair with filming began.
I spent a few years on everything from
schools programmes and News to drama.
Then I crossed the water to BBC Bristol in
1985. Immediately I was off on a 27 week
drama shoot in Scotland, Derbyshire and
London. I had a great time working with
the cameraman Elmer Cossey from BBC
Ealing and started to get to know mainland
lighting companies.
Looking back to the cameramen I worked
with at Bristol, it really is a modern hall of
fame. Andrew Dunn, John Daley, Ashley
Rowe, Remi Adefarasin, Philip Bonham
Carter and lots more of that calibre. It was
a great place at a great time and I learnt
vast amounts from all sorts of people.
Already the BBC scene was starting to
change, with co-productions and my being
allowed time off to work with independents.
My first was with Andrew Dunn after hed
gone freelance; it seemed hard going out-
side the nest but fun too, and again you met
new people and learnt more. Really talented
guys like Oliver Stapleton and Dennis
Crossan. I still remember my first co-produc-
tion with Dennis. It was called BLUE I CE
serviced by the then Bell Lighting, now
known as ARRI Lighting Rental with lots
of high building interiors lit from outside.
We used twenty-seven cherry-pickers when
the most Id ever seen together had been
three or four.
In their wisdom, the Beeb (BBC) then went
the further step of disbanding the unit, so
suddenly I was a freelance. I was terrified
for a few weeks but in fact it was a huge
favour. The very first job as a freelance was
again with Andrew Dunn on a coal-mining
documentary called I N THE DARK. The plan
was a couple of days at the coal face to
get establishing shots but it looked so good
the director decided to shoot all two weeks
underground.
It was an amazing experience, working
just behind the huge machine tunneling for-
ward and hearing the solid earth creaking
and moving around you. Because of safety
regulations, ordinary lighting was impossi-
ble so I had to construct a kind of mini-Dino
from miners lamps. The effect was terrific
but I felt sorry for the miner who carried the
battery around the leads were only 3ft
long.
One benefit of beeing freelance is having
the freedom of choice in who I work with
both on the production side and with light-
ing companies. I like to vary according to
the job as you steadily increase your expe-
rience that way. People like ARRI Lighting
Rental, Lee and AFM all have excellent ser-
vice standards and are constantly develop-
ing new ideas. On THE MAN WHO KNEW
TOO LI TTLE I used remote controlled lamps
on cherrypickers for the first time. You get
total control, of even big lamps, 200ft up,
while youre safe on the ground. Our Ameri-
can producers were hugely impressed.
I think the most important element of a gaf-
fers task is the organisation. Everythings
so huge and complex these days and time
is so costly; you have to plan carefully and
get it right first time. I get more and more
involved in even pre-recce discussion al-
though that also means youre more out on
a limb; get it right and youre a hero, get it
wrong and well, goodnight.
Clearly Alex Scott mostly gets it right. Nail-
ing him down for this article was constantly
threatened by work demands. After a long
stint in France on CI NDERELLA with Andrew
Dunn last year, hes currently shooting CI DER
WI TH ROSI E with cinematographer Rex
Maidment. And two days after that wraps
hes off to Rome for three months on A
MI DSUMMER NI GHTS DREAM with Oliver
Stapleton as DoP. Another new challenge
he says, were using the Key Grip system
and Ive got a really good Italian Key Grip
and Gaffer.
The best thing is, I really love going to
work each day. Its actually a privilege to
go and have fun working in places like Italy
and the gorgeous French chateau where
we made CI NDERELLA in. I enjoy the big
features but I still want to keep my feet on
the ground with commercials and TV. Its a
great people business; as well as DoPs,
over the years Ive worked with some won-
derful crews and best boys Andy Long,
Fred Brown from Lee, Steve Davis. When
Im building a crew, I deliberately go for a
mix of experience as back-up and the
young and enthusiastic for ideas and the
way they lift morale.
Somehow its hard to imagine Alex need-
ing help in that area.
GB/NS
Alex Scott Computerised lighting gaffer
33 33
ARRI Lighting and the ASC
In January 1998, the American Society of
Cinematographers invited a selected group
of lighting manufacturers to introduce their
latest lighting products. This general meeting,
held at their Hollywood clubhouse, marked
only the second time within the past three
years that the ASC presented lighting fixtures.
ARRI Lighting was invited back for the second
year to display their latest in lighting equip-
ment. The goal of the evening, according to
chairman Robert Primes ASC, was to show-
case new, unique and exciting lighting re-
sources to available members in a relaxed,
noncompetitive forum.
The topic drew a capacity crowd. Among
those in attendance were John Toll ASC,
Russell Carpenter ASC, Don Burgess ASC,
John Bailey ASC, Jack Green ASC and
Stephen Burum ASC. After dinner and in-
formal perusal of displayed products, newly
elected President Woody Omens ASC, wel-
comed members and introduced invited
guests.
During the formal presentation, ARRI Lighting
showcased the Pocket Par System. Lighting
Manager, John Gresch, presented the prod-
ucts while the ARRIFLEX staff showed each
version in a hand held, battery assisted, por-
table mode. The Pocket Par Light Pipe, Pocket
Par Projector and Flex Light System drew
audible excitement from the group. Also
presented were the ARRI X 40/25 HMI and
the T12/T24.
Many members stayed after the presentation
to discuss applications and offered valuable
product input. Others enthusiasm spilled over
into the next day when they called with ad-
ditional ideas for using ARRI products on
upcoming projects.
J. Gresch / F. Wieser
34
Martin Werhahn
Expo Opening in
Its the Bavarian capitals largest project since the Olympic
Games in 1972 the new Munich Expo grounds. ARRI Light-
ing Rental, Munich provided the lighting equipment for the
functions hall for the opening celebrations in mid February.
Luminaires with a total output of 2.4 Megawatt were installed
and ensured the right light for the opening ceremony and for
the evening gala.
At the former Munich airport in Riem, where
the jets used to take off, 14 expo halls with
over 140,000 m
2
of exhibition space were
planned and built in the record time of just
54 months. An area was created with an
imposing landscape of halls. It counts as one
of the most modern expo centres in Europe.
On opening day, two functions were held,
visited by over 8,000 guests: the opening
ceremony in the morning, and the interna-
tional expo organisations ball in the evening.
German Federal President Prof. Dr. Roman
Herzog hosted both events.
Both functions took place in the same hall, so
lighting and furnishings had to be extremely
Martin Werhahn,
TLDs lighting de-
signer responsi-
ble for the project:
The organisers wanted to separate the
entrance area completely from the cere-
monial area. So we created a crossbeam
design which emphasises the depth of the
room from the visual perspective of the en-
trance podium. The crossbeams were co-
loured with Medium Blue (LEE 132). We left
the central area between stage 1 and stage
2 blank. Because of the differing functions,
particular flexibility was needed there. We
coloured the crossbeams with Robocolors
Pro 400 and erected 4 further platforms
for follow spots and dimmers.
In addition to 1500 m of aluminium cross-
beams, ARRI provided a total of 200 kW
daylight lighting and 700kW tungsten light-
ing. There were tough demands put on the
equipment the head of the ARRI rental park,
Hubertus von Hohenzollern, reports. The
luminaires had extremely long running
times in some cases 24 hours a day and
for a whole week.
The lighting design itself emphasised func-
tionality and the given structure of the hall
surfaces grandstands, seating areas and
action surfaces. A decisive element was the
festive white atmosphere for the opening
ceremony. Another feature was that the fes-
flexible. Both grandstands for the evening
ball were covered with a curtain and a
10x14m large canvas screen during the
mornings opening ceremony. During the cer-
emony a video projection onto this screen
provided a look at the latest history of the
expo grounds from the last jets take-off,
through the laying of the foundation stone
and the building celebrations up to the open-
ing day.
35
Munich
Four 8m high aluminium towers, each
with 6x 4kW fresnel luminaires, lit up the
parking areas. Each lighting tower was
powered by a separate generator.
tive ball atmosphere was to be subtly under-
scored by candlelight on the tables. During
the ball the entire hall ceiling was coloured
with ARRISUN luminaires in 079 (True Blue).
In the central area there was also television
lighting for the 12 cameras which relayed
the festivities to 56 countries.
Martin Werhahn: These varying elements
were separated through a clear structure of
lighting material. For the grandstands and
seating areas we used PARs exclusively, fil-
tered with LEE 180 (Dark Lavender), 079
(True Blue) and 152 (Pale Gold) and the
traffic areas with LEE 103 (Straw). In the cen-
tral area unfiltered 5 kW fresnels were add-
ed. All the effects lamps (140 Mac 500/
600) were hung in the central area. They
were first used as key lighting for positions
outside the stage area, then as architectural
lighting for the opening ceremony and later
as disco and show lights.
One of the greatest eyecatchers was without
a doubt the debutantes entrance into the
hall. When they reached the entrance plat-
form, all luminaires were directed onto them.
The entrance platform had one other pecu-
liarity. It was separated by a light curtain
made of ACLs and coloured in LEE 205
(1/2CTO) and 202 (1/2CTB), and the
crossbeam lighting was also slightly differ-
ent there, filtered in LEE 162 (Bastard Amber)
in order to emphasise this area. The lighting
atmosphere was created via two Case II
lighting desks with 2048 cycles.
In total 2700 luminaires, 16 video projectors
and large format projectors, 2.5km of rig-
ging material, 7km of cabling and 3 move-
able projection surfaces were in operation
on this day. 700 m
2
of stage area were used.
250 technicians were kept busy setting up
this event in ten days. 100 people were at
work on the day just for the technical and
stage happenings.
Oliver Stigler, co-
owner of the agency
Molitor and Stigler,
had the task of tech-
nical project leader-
ship. This time the
production manual
was really very comprehensive. We sum-
marised everything and wrote up an exact
script to guarantee problem-free proceedings
for the events. For the Expo Munich and ev-
eryone involved, the functions were a com-
plete success.
MM
36
the brightest HMI-Light
ARRISUN 120
The new ARRISUN 120 is one of the most
innovative lighting products that ARRI has
ever presented. Its computer designed opti-
cal system combined with a unique 500mm-
converter lens set provides extraordinary op-
tical performance, up to 55,000 lux at 20
meters. The light output of the ARRISUN
120 matches and in some applicatione
even surpasses an 18kw Fresnel.
ARRIs special lamp lock and support
mechanism (patent pending) ensures preciss
lamp alignment for any 12kW single end-
ed lamp and prolongs lamp life by reducing
both temperature and mechanical stress in
the lamp socket.
An improved focus mechanism combined
with ARRIs 500mm-lens set provides an
almost continuous variety of beam angles
from super spot of 6 to a wide flood of 75.
The easily handled drop-in lens set is now
color-coded for quick identification. Along
with the classic ARRI construction of cast
and extruded aluminium, the ARRISUN
120s compact size and weight (less than
40kg/88Ibs.) makes it an ideal choice
for a wide range of studio or location ap-
plications. The ARRISUN 120 is compati-
ble with all existing ARRI electronic and
magnetic ballasts.
ARRISUN 120:
Dimensions Hx Wx L: 730 x 680 x 660mm
Weight: 40kg (88lbs.)
Light output Distance 20m
Throw distance Beam diameter Beam angle
Superspot 55,000 Lux 6
Spot 25,000 Lux 10
Narrow Flood 9,000 Lux 12 x 30
Flood 4,400 Lux 20 x 45
Superflood 2,000 Lux 50
Frosted fresnel 1,300 Lux 41
37
ARRI X 12
Distance 3 m 5 m 10 m Beam-Angle
1200 Watt 2220 800 200 120
Light values in Lux:
As a specialist for even daylight balanced
lighting of large surfaces, the first high-per-
formance floodlight ARRI X 40/25 was
introduced in the middle of last year. This
range of luminaires has now been expanded
with the ARRI X 12.
As with all luminaires, applications are
being constantly extended for high-per-
formance floodlights. The compact ARRI
X 12 is particularly suited to film and
television productions, photography, for
theatre or for functions, where it extends
the creative possibilities.
For flexible lighting the reflector is equipped
with quick releases and can be replaced
without tools, for example by a black re-
flector for hard shadows (shadow light).
The lamp with an output of 1200 Watt can
comfortably be attached and detached with
the quick-change socket.
Technical Data:
Output: 1200 W single-ended
discharge lamp
Colour temperature: 5600 K
Lamp socket: G 38
Dimensions W x D x H: 490 x 220 x 525mm
Weight: 12kg (26.4 lbs.)
38
Dr. Stefan Frank
Everything under one Roof:
MAT ARRI working together
A unique partnership in the Munich film and
TV scene is the innovative collaboration be-
tween the companies ARRI and MAT. Peter
Braun, Managing Director of MAT, and ARRI
present together a new and unique meet-
ing point for all film-makers in the media
setting: a One Stop Shop where in addi-
tion to the renowned ARRI film technology
(cameras, lighting and grip equipment),
also exclusive MAT camera support tech-
nology (including camera cranes, remote
heads, snorkel systems and camera cars
such as the Roadrunner) can be hired. As
well theres the quick, competent service
and advice which doesnt stop at the pro-
The series Dr. Stefan Frank is one of tele-
vision channel RTLs most successful produc-
tions. The fifth series of 16 new episodes is
currently beeing planned. Shooting is to
begin in early September. The story about
the doctor has been in production since
1994 and captivates over 5.5 million view-
ers to the screen every week.
To date 61 episodes of the series have been
filmed. Over 5500 extras have spent a to-
tal of 702 days in front of the camera, and
over 250,000 metres of film have been de-
veloped in the ARRI lab. Since the start of
duction, but with ARRI TV, the laboratory
and ARRI Digitalfilm as partners integrate
their comprehensive know-how in post-pro-
duction, in addition to complex shoots.
In order to give this new business idea a
unified physical framework, MAT moved
into the ARRI hall on 1 February 1998 in
Lerchenstrae 28
D-80995 Munich
and can be reached at
Phone: 0049- 89- 35 79 99- 01
Fax: 0049- 89- 35 79 99- 06
the series, Dr. Stefan Frank has been
equipped with lighting and camera equip-
ment from the ARRI rental park. With such
an intens schedule it was logical for the
production to rent office space right there
on ARRIs company premises: As well as
the personal contact to all service areas,
the short distances were a definite ad-
vantage says executive producer
Walter Pttgen.
Production: Phoenix Film
MM
At the same time ARRI moved its grip equip-
ment from Trkenstrae to Lerchenstrae.
The spacious hall provides far better dem-
onstrations and above all more quickly and
easily loading of equipment.
The new collaboration will be officially pre-
sented and celebrated on June 18th when
MAT and ARRI invite guests to an Open
House in Lerchenstrae.
39
A Selection of Currently Serviced Productions
ARRI Camera Rental M U N I C H
Title Production Company Director DoP Equipment
A DOG OF FLANDERS Flanders Prod. Kevin Brodie Walther van den Ende 535/535B
ABEL TV 60 Filmproduktion Marc Rothemund Johannes Kirchlechner 16SR3
DR. STEFAN FRANK Phoenix Film Udo Witte Jochen Radermacher 16SR3
EYES WIDE SHUT Hobby Films / Warner Bros. Stanley Kubrick Larry Smith 535B
FORSTHAUS FALKENAU NDF Klaus Grabowsky Alfred Tichawsky 16SR3
KREUZ & QUER /
MORD UND TOTSCHLAG TV 60 Filmproduktion Bernd Fischerauer Bernd Neubauer 535B
POLIZEIRUF 110 Infa Film Ulrich Stark Wolf Siegelmann 16SR3
RUNGSTED Thura Film Morten Kohlert Jan Weincke 535B
THE VIRTUOSO Maksla Prod. Alexander Buravsky Vladimir Klimov BL
WING COMMANDER Carousel Picture Comp. Chris Roberts Thierry Arbogast 535B/435
ARRI Medi a L O N D O N
Title Production Company Director DoP Equipment
EARTH Cracking The Earth Films Inc. Deepa Mehta Giles Nuttgens 535B
EUGENE ONEGIN Onegin Production Martha Fiennes Remi Adefarasin 535B/435
KING LEAR King Lear Productions Richard Eyre Roger Pratt 16SR3
OUT OF HOURS BBC, Monogram, Tyro Douglas Mackinnon
Robin Sheppard Grant Cameron 16SR3
SHAKESPEARE IN LOVE Shakepen Productions Ltd. John Madden Richard Greatrex 535B/435
STILL CRAZY Still Crazy Limited Brian Gibson Ashley Rowe 535B/435
THE JUMP Warner Sisters Film + TV Ltd. Richard Standeven John Daly 16SR3
TOUCHING EVIL II Anglia TV Sheree Folkson David Odd 16SR3
VANITY FAIR BBC TV Marc Munden Oliver Curtis 16SR3
CSC N E W Y O R K
Title Production Company DoP/Gaffer Equipment
GLORIA Gloria Prod. David Watkin /Tim Guiness 535/535B/435/Lighting
HE GOT GAME Swishin and Dishin Malik Sayeed 535B/Lighting
LESSER PROPHETS Prophetable Pictures Fred Schuler /Pat Cousins 535B/Lighting
MY GIANT Castle Rock Bob Ceratta Lighting
OBJECT OF MY AFFECTION 20th Century Fox Andy Day Lighting
ROW YOUR BOAT Row your Boat Prod. Zoltan David BL4s
SCARED CITY Scared Prod. Mike Slovis /Derick MacKane 535B/Lighting
SEX IN THE CITY Sex in the City Stewart Dryberg/Mike Marzovilla 16SR3/Lighting
SOPRANO Soprano Films Andrew Clark Lighting
SPANISH PRISONER Jasmine Prod. Michael Burke Lighting
THREE BELOW ZERO Roman Kuhn Jamie Silverstein /Vanya Edwards 535B/Lighting
39
40
ARRI Di gi tal Fi l m
Title Production Director Service
23 Claussen & Wbke Hans-Christian Schmid Digital Compositing
Cineon /Flame /Inferno
BIN ICH SCHN Constantin Film Doris Drrie Digital Compositing
Cineon /Flame /Inferno
CAIPIRANHA (GIFT UND GALLE) Tele Mnchen Felix Dnnemann Digital Compositing
Cineon De-Flicker
DAS MERKWRDIGE VERHALTEN
GESCHLECHTSREIFER GROSS-
STDTER ZUR PAARUNGSZEIT SAM Film Mark Rothemund Visual Effects 3D, Digital Compositing
Cineon
EXPO JET KUK Filmproduktion Josef Kluger
Visual Effects 3D, Digital Compositing
Cineon /Flame /Inferno
ARRI Li ghti ng Rental L O N D O N
Title Production Director DoP
BIRTHS, DEATHS AND MARRIAGES Tiger Aspect Adrian Shergold Dav Hobson
FRENCHMANS CREEK Carlton Television Ferdinand Fairfax Dave Chris Seagar
LOVE AND RAGE Love and Rage Ltd. Cahill Black Slawomir Idziak
STILL CRAZY Still Crazy Limited Brian Gibson Ashley Rowe
THE LOST SON Scala Films Chris Menges Barry Ackroyd
THIS YEARS LOVE Kismet Films David Kane Robert Alazraki
VANITY FAIR BBC Marc Munden Oliver Curtis
WARZONE Sarah Radclyffe Prod. Tim Roth Seamus McGarvey
ARRI Li ghti ng Rental M U N I C H
Title Production
BMW OPEN Iphitos
HILTI Wyatt & Wyatt
LOVE AND RAGE TV 60
MC DONALDS E & P Commercial
OFF ROAD 98 Neptunia
VIRTUOSO Maksla Produktion
WALT DISNEY VIDEO Recla
41
ARRI TV
Films and Series
Title Production
CAIPIRANHA (GIFT UND GALLE) Tele Mnchen
CASCADEUR Cascadeur Filmproduktion
DAS FINALE TV 60
DAS MERKWRDIGE VERHALTEN
GESCHLECHTSREIFER GROSS-
STDTER ZUR PAARUNGSZEIT Sam Film
DER CLOWN II Action Concept
DIE BUBI SCHOLZ STORY MTM West Televisio & Film
DIE WACHE Endemol Entertainment
DR. STEFAN FRANK Phoenix Filmproduktion
FEUERREITER Provobis
GLORY DAYS Zeitsprung Filmproduktion
HEART ROAD Dreamer Joint Venture
HERZFLIMMERN Frankfurter Filmproduktion
JETS Frankfurter Filmproduktion
KREUZ & QUER/
MORD UND TOTSCHLAG TV 60
NIKOLA Columbia Tristar
PAULS REISE Avista Film
RAPSODIE IN BLUT Movie Makers
TIERRZTIN CHRISTINE II Wrthersee Filmproduktion
TDLICHE VERSUCHUNG Phoenix Filmproduktion
TDLICHES GEHEIMNIS Fontana Film
TROOPERS Film-Line Productions
Commercials
Client Production
AUSTRIAN AIRLINES Tale Film
BI TBURGER Heye
C&A RKP Roman Kuhn Filmproduktion
CASTROL GAP German Answer Prod.
DIESEL Bel Air
GRIESSON Interteam
LLYAMA Target Film
LTUR Picture Planet
MEDIA MARKT Picture Planet
PHILADELPHIA E&P Commercial
SAGROTAN Input Filmproduktion
SCHWBISCH HALL RKP Roman Kuhn Filmproduktion
SIEMENS Embassy of Dreams
THOMY ROT WEISS, ROT GELB Input Filmproduktion
TUCHER BIER Bilderrausch
VITTEL Input Filmproduktion
from above to below:
Thomy
LTUR
Austrian Airlines
Castrol
41
42
CAI PI RANHA
FEUERREI TER
THREE BELOW
ZERO
ARRI Sound
We are especially pleased that the sound
completion services for Nina Grosses
FEUERREI TER took place with us. FEUERREI TER
tells the story of the young and highly tal-
ented poet Friedrich Hlderlin and his love
for Susette Gontard, his employers wife:
an impossible yet eternal love.
After her prize-winning first film DER GLSER-
NE HI MMEL and several television projects,
Nina Grosse has now made her second fea-
ture film for the cinema with this European
co-production costing 10 million DM. She
filmed it from February to December 97 at
various locations in France, Poland and
Germany. Main actors are Martin Feifel
as Hlderlin, Marianne Denicourt as Susette
Gontard, Ulrich Mhe, Ulrich Matthes and
Nina Hoss. Producer Jrgen Haase (Provo-
bis): Susanne Schneider wrote the script. It
impressed me because it sheds a new light
on Hlderlins life.
Patricia Rommel (JENSEI TS DER STI LLE) is
responsible for AVID editing, assisted by
Anne Wagner. Annette Prey (Soundabout)
and Marcel Spisak are responsible for
sound design; sound editing is being carried
out by Steffie Geiler and Jutta Nullmeyer.
Dialogue (dialogue direction Marika von
Radvanyi) and foleys (Jo Frst) were re-
corded by Peter Notz in the newly refur-
bished Studio B.
Sound mixing (Max Rammler-Rogall) in
Dolby SR-D took a total of four weeks, which
considering the artistic demands and the
running time of 133 minutes was very short.
Progress Film Distributors will bring FEUER-
REI TER to the cinemas in Autumn 98.
Roman Kuhn is diversifying THREE BE-
LOW ZERO was made in New York and is
the first feature film by the well-known ad-
vertising guru. So, whats it about? The
communal laundry in a New York apart-
ment block is turned into a prison for one
night for three people of varying ages, sex
and social class. The claustrophobic atmos-
sphere of the room and the powerlessness
of the waiting forces them to let their super-
ficial masks drop elementary conflicts be-
tween men and women come to the fore.
An unreal striptease of the soul begins
Simon Aeby directed, Markus Goller edited
on the AVID, the sound design was done in
New York and is under the responsibility of
Pit Kullmann in Munich. Music is by Stephan
Massimo.
All Protools data was delivered from the
USA on 10 Jaz-disks. All data was available
and despite varying TC norms (PAL-NTSC)
also synchronous.
The film requires various soundtracks, which
utilised the Dolby SR-D format to the maxi-
mum. The original sound was digitally
cleaned and premixed on 6 channels. Due
to this preparatory work, post-sync could be
eliminated. Then came 40 tracks of sync
sound, atmospherics and effects. Through
pre-mixing hall, pan, delay and harmonising
the effects, the main task for sound mixer
Tschangis Chahrokh consisted of evaluating
the music and overall character of the mixing.
Cinema start: Autumn 98
SAM-Film (Andreas Ulmke-Smeaton, Ewa
Karlstrm) surprised us with their wilful title
DAS MERKWRDIGE VERHALTEN GESCHLECHTS-
REI FER GROSSSTDTER ZUR PAARUNGSZEI T
( THE STRANGE BEHAVI OUR OF CI TY- DWELL-
ERS I N THE MATI NG SEASON) director
Marc Rothemund, editing Barbara von
Weitershausen, sound design Alex Saal,
mixing Tschangis Chahrokh.
This co-production with Pro 7 stars Anica
Dobra, Christoph Waltz, Gudrun Landgrebe,
Michaela May and many others ...
43
Our latest productions
DAS MERKWRDI GE VERHALTEN
GESCHLECHTSREI FER GROSSSTDTER
ZUR PAARUNGSZEI T
BI N I CH SCHN
Doris Drries new film (production: Constantin) is based on here own collection
of short stories. It stars: Senta Berger, Anica Dobra, Gottfried John, Heike
Makatsch, Uwe Ochsenknecht, Armin Rohde, Gisela Schneeberger and many
others. Editing by Inez Regnier, Sound editing by Solweig Bores, Music by
Roman Bunka, Soundmix by Max Rammler-Rogall.
TDLI CHES GEHEI MNI S
Josef Rdls thrilling psychodrama for SAT 1 (Production Fontana). Editing by
Susanne Hartmann. Sounddesign by Michael Hinreiner, Magda Habernickel, Music
by Peter Weihe. Soundmix by Max Rammler-Rogall.
DAS FI NALE
TV-60 Produces the actionmovie for PRO 7, directed by Sigi Rothemund.
Starring: Francis Fulton-Smith, Christoph Waltz, Axel Mielberg und Armin Rohde.
AVID editing by Andreas Herzog, Soundesign by Stephan Busch, Soundmix by
Anton Rdler / Tschangis Chahrokh.
TI ERRZTI N CHRI STI NE I I I
Director: Chrisitan Kohlund, Production: Wrthersee Filmproduktion.
Starring: Uschi Glas, as maincharacter. AVID editing debut by Melania Singer,
Sounddesign by Marcel Spisak, Soundmix by Tschangis Chahrokh.
Quote by Charly (Christoph Waltz): Spring
a unique play of natural forces. The boys get
going with innovative antics to impress the
girls bloom and display their charms
In Felix Dnnemanns GI FT UND GALLE
(POI SON AND BI LE), enemy neighbours go
crazy and create chaos. Amongst dough
and muesli, the cat lands in the fishpond
and the daughter lands in the wrong bed.
Katharina Thalbach, Christine Kaufmann,
Rainer Basedow, film beau Ralph Bauer
and the attractive Jasmin Gerat go at each
other hammer and tongs.
Conny Strecker is responsible for the speedy
editing, and Alex Saals effects have a great
rumble. Mixmax mixed the Tele-Mnchen-
Film-Produktion in January in Dolby-SR. We
wish you lots of fun.
Ralph Httner made such a stir with
MUSTERKNABEN I that Senator-Film is bring-
ing the film to the cinemas and ARRI will
shortly be able to process MUSTERKNABEN
I I . As on MK I, Veronika Zaplata is doing
the editing, Achim Hoffmann the sound
design and Tschangis Chahrokh the mixing.
This NDF-production stars Oliver Korittke,
Jrgen Tarrach, Sophie v. Kessel and many
others.
Herbert Achternbuschs NEUE FREI HEI T
KEI NE JOBS SCHNES MNCHEN STI LL-
STAND (NEW FREEDOM NO WORK BEAU-
TI FUL MUNI CH STANDSTI LL) is a very per-
sonal statement on a politician named Kohl
and a satire on so-called progress. The film
was screened in the Werkraumtheater in
Munich. A crowd of well-known actors from
the Kammerspiele as well as theatre-man-
ager and students from the Falckenberg
school star in it. Micki Joanni did the ed-
iting, Michael Hinreiner original sound
and sound design. Mixing was carried
out in ARRIs Studio A.
PPA-FILM (Pierre-Peters Arnolds) dubbed
the new Oliver Stone film U- TURN for Co-
lumbia-Tristar: a road movie and at the
same time a very exciting thriller.
Klaus Wendt mixed the German version in
all three digital formats.
Personalities
Good news for Max Rammler-Rogall and
Marcel Spisak. They were nominated in
the sound category for the Technical Lion
award in 1997 for the Avista Film LEA by
Ivan Fila.
Max Rammler-Rogall
44
Key Contacts
Support Camera
Gnter Zoeh
D-089-3809-1209
Camera Rental, Munich
Robert Wiesmann
D-089-3809-1325
Lighting Rental, Munich
Hubertus Prinz
von Hohenzollern
D-089-3809-1345
ARRI TV
Franz Kraus
D-089-3809-1512
ARRI Digitalfilm
Angela Reedwisch
D-089-3809-1574
ARRI Lighting Rental
Tim Ross
GB-0181-561 6700
ARRIFLEX Corporation
Franz Wieser
USA-0914-353 1400
CSC Camera Service
Center
Neil Bahnemann
USA-0212-757 0906
ARRI Canada
Penny Watier
CDN-0416-255 3335
ARRI Italia
Massimo Lobefaro
I-02-26 22 71 75
ARRI Sound
Max Rammler-Rogall
D-089-3809-1628
Laboratory
Josef Reidinger
D-089-3809-1339
ARRI contrast GmbH,
Berlin
Laboratory, Sound,
Videopostproduction
Peter Petersen
D-030-3 000 91-11
ARRI GB Ltd
Nick Shapley
GB-0181-848 8881
ARRI Media
GB-0181-573 2255
http://www.arri.com
Arnold & Richter Cine Technik, Trkenstrae 89, D-80799 Mnchen
Phone D-089-3809-0, Fax D-089-3809-1791
Expo Calendar 1998
These are the most important exhibitions where you can find out about
ARRI products and services:
12 14 June ShowBiz Expo West Los Angeles
11 15 September IBC Amsterdam
19 21 September cinec Mnchen
27 31 October Broadcast India Mumbai
11 13 November InterBee Tokio
13 15 November LDI Phoenix
Published by: Arnold & Richter Cine Technik, Trkenstr. 89, D-80799 Mnchen
Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Mller
With additional text by: Christian Brckstmmer, Sebastian Cramer, Thomas Drechsel,
Stephan Kalesse, Monika Raebel, Max Rammler-Rogall, Franz Wieser, Mark Woods, ARRI GB
Artwork: Heilig, Schmid, Beisenherz / Mnchen
Printed by: rapp-druck GmbH, Flintsbach
Litho: EDTZ, Ottobrunn
Technical data are subject to change without notice