Download - Arri

0 4 / 2 0 1 0
n e w s
the alex a Universe // a rrir aw: l e t t ing t he work flow // a rri/fujinon a lur a //
a rri/ zeiss m a s t erprime 12 // ac a de my awa rd f or a rrisc a n // l igh t ing: l ed, a s18 & m18
©A.M.P.A.S.®

C o n t e n t
C a m e r a
The ALEXA Universe 04
The ALEXA Camera 06
Letting the Work Flow 10
BEEF – An ARRIRAW Workflow Case Study 14
Continuous Improvements – ARRIFLEX D-21 Upgrades 16
Digital Workflow Solutions 17
HABEmUS PAPA m 18
FIgLI DELLE STELLE – ARRIRAW with on-board redording 20
Trusting the D-21 on LIE To mE 22
L ATITUDE 81 DEgREES NoRTH – on Tracing Polar Bears with the D-21 24
Sydney Dance Company Transforms 28
ARRIFLEX D-21 in Australia 30
moon Wall – Tarek Alarian shooting with the D-21 in ARRIRAW 31
Behind the magic mirror – THE ImAgINARIUm oF DoCToR PARNASSUS 32
making a Drama out of 2-Perforation 34
HD-IVS Case Studies 36
ARRI/FUJINoN Alura – The next generation of Zooms 38
go Wide and Fast – ARRI/ZEISS master Prime 12 40
Close Focus on Red Apple 42
Wiggling with master Primes 42
Super 16 Dream: HURT LoCkER Wins Best Picture oscar 43
ASC Celebrates International Language of Cinematography 43
D i g i t a l I n t e r m e d i a t e S y s t e m s
Sci Tech oscars pay Tribute to Innovation of the ARRISCAN 44
ARRISCAN Archive 46
Fotokem Purchases ARRI Relativity Software 50
Focus on Company 3 50
L i g h t i n g
Intelligent Dynamic LED Lights for Special Applications 52
matching Light Sources with the ARRI PAX LED System 54
ZDF Fernsehgarten basks in ARRI True Blue Daylight 56
ToUgH BUT FAIR – TV Show relies on ARRI True Blues 57
Cheng Seng celebrates its 50th Anniversary 58
Saeki P&C Becomes official Lighting Distributor 58
ARRImAX in China 59
China Film group visits Berlin TV Studios 60
m18 and AS18s Light It Up 61
N e w s a r o u n d A R R I
Digital Production Workshop at the Beijing Film Academy 62
Journey Into Tomorrow's Images 63
Student filmmaker wins a date with ALEXA 64
CAmERImAgE 2009 65
media Film Services at mediatech Africa Fair 66
A Bold Collaboration – Biggest Studio in the middle East to be built 67
Cairo Arab media Festival 67
New Horizons – ARRI Sales 68
Thomas Popp – to live the ARRI Way 70
Volker Bahnemann: The Steady Hand Behind ARRI Inc. 72
4k+ Research honored by SmPTE 74
New Archive and Restoration Dept. at ARRI Film & TV Services 74
An ARRICAm for HFF 74
S e r v i c e s
A Selection of Currently Serviced Productions 75
ARRI Rental Germany · ARRI Media · ARRI Lighting Rental · ARRI CSC

Dear Friends and Colleagues
Dr. Martin Prillmann (left),
Franz Kraus (right)
From the frozen Arctic wastes to the precious frescos of the Sistine Chapel – ARRI products have
created unforgettable images at extraordinary locations all over the world in recent months, as the
stories in this issue testify. ALEXA, of course, is the biggest story for us this year, and we’ve been
looking forward to revealing the details of this groundbreaking camera for some time. In fact,
ALEXA is more than a camera; it’s an entire production system. During its development, we’ve had
to address the fact that our industry is changing fast, and the needs of our customers with it. We
must pay more attention than ever to pragmatic concerns such as providing our customers with
genuinely innovative and future-proof tools that will give them an edge now, and prove a sound
investment for years to come.
With exchangeable electronics, recording systems and lens mounts, ALEXA is both equipped for
today and ready for tomorrow. Perhaps most important of all, however, are the camera’s workflow
solutions. Simplicity and choice seem to be the watchwords when it comes to workflow, both of
which we’ve made integral to the ALEXA concept. Our Direct to Edit feature inordinately simplifies
access to image and audio, delivering time and cost savings that will mark a real milestone in the
evolution of production processes. In response to the emergence of workflow as a factor that can
determine every technical decision made on a production, we have assembled a dedicated taskforce
to explore workflow issues and disseminate expert information. The Digital Workflow Solutions
Group is a comprehensive point of contact to assist you on your path towards the digital future.
Film still excites and inspires us. As an acquisition format, an exhibition format and an archive format,
film remains a lynchpin of the motion picture industry. The discovery of lost reels from Fritz Lang’s
M E T RO P O L I S in Argentina and the restoration of early Lumière films in France constitute a vital
reclamation of our cinematic heritage. Both projects were digitized with the ARRISCAN and both
took advantage of new developments such as the archive gate and the sprocketless drive. At the
front end, too, innovation drives film technology forward. Our improved 2-perforation movements
for the ARRICAM cameras achieve new heights of engineering precision, and rewrite the rules on the
affordability of 35 mm acquisition. The new HD-IVS Video assist units deliver for both, ARRICAM
and the ARRIFLEX 435, pristine, high definition monitor images on set, and provide the basis for
efficient postproduction workflow thanks to innovative features such as Ground Glass Cancelation.
ARRI lighting technology continues to stride ahead as well: just as the ARRIMAX raised the bar at the
top of the wattage scale, the M18 and AS18 are now redefining performance standards at the lower
end, offering unprecedented light output – “straight out of a household power outlet,” as our American
friends enthusiastically proclaim. Here, as with all of our products, communication with end users and
a truly interdisciplinary approach have provided the basis for success.
Dr. Martin Prillmann
Franz Kraus
E d i t o r i a l

0 4 C a m e r a
At the inception of the ALEXA project we looked carefully at what is needed to create digital image and audio in the
most efficient manner, including what it takes to get that content quickly into post and distribution. During our discussions
with industry experts, it became obvious that a modern digital camera system requires much more than just a new camera
with a great sensor - lenses, recording media, recording codecs, electronic accessories, mechanical accessories, batteries
and post production have to mesh perfectly for a smooth journey of content from set to post. The system has to be complete
and all its parts tightly integrated. The challenge was tremendous in scope, more vast and complex than the creation of
the ARRICAM system.
The Universe
Another important realization
was that we did not have to
invent everything ourselves.
On the contrary, we decided
to create a system with an open,
future-proof architecture that can
tap into existing standards and
best-of-class solutions. Where
existing methods did not satisfy
our demand for highest quality
and efficiency, we worked closely
with companies such as Apple,
FUJINON and others to integrate
their technologies and
experience into the ALEXA system.
Additionally, we built on
the strengths of existing relationships,
such as our decade long
close cooperation with ZEISS.
The result is the most complete
and powerful digital production
system ever built.
ARRI Technology
At the center of the system is the ALEXA
camera, consisting of ARRI core technologies:
sensor, image processing electronics and
image processing software, all combined
under the term ARRI Imaging Technology (AIT).
Since no existing approach to electronic
viewfinders had won us over, we built our
own. The ARRI Electronic Viewfinder EVF-1
is based on the combination of an innovative
display with ARRI illumination, electronics,
optics and hardware. All this is supported
by precision mechanical and optical components
that were designed based on years
of experience in building motion picture
cameras.
ALEXA is, of course, compatible with the
wide range of ARRI mechanical and electronic
accessories, including matte boxes,
follow focus units, the ARRI Wireless Remote
System, the new High Definition onboard
Monitor HDM-7, the ARRI bridge
plate system and the ARRIHEAD. This includes
also numerous accessories developed
especially for ALEXA.
Third Party Components
We are grateful for the fantastic contributions
from a number of companies who
have worked closely with us, integrating
their technologies and products into the
ALEXA system.
The big news is that ARRI is now one of
only a few companies world wide that
are offering Apple ProRes hardware
products for efficient Direct to Edit functionality.
Recording the same standard
high quality codec that is also used natively
by the Final Cut Pro editing software
is a revolutionary step in digital
production. Not only is this the fastest
and easiest method to get high quality
images and sound from the camera into
an editing system, it also streamlines the
entire off-line/on-line workflow.
D irect T o E dit
In order to record ProRes encoded image
files onto an on-board recording medium,
we have licensed the
SONY SxS driver
software, which allows
the fast data rates
necessary to
record even
ProRes 4444
data onto SxS
memory cards.

ARRI/FUJINON
Zooms
ARRI/ZEISS
Primes & Zooms
Panavision and
Stills Camera
Lenses
Our new partnership with FUJINON has resulted
in a new family of zooms: the Alura
Zoom 18-80 and Alura Zoom 45-250.
These ARRI/FUJINON zooms combine the
highest optical performance with a practical
size, weight and price and are a perfect
match with ALEXA.
Our on-going, long-term relationship with
ZEISS has produced the greatest range of
matched PL mount lenses available, all 100%
compatible with ALEXA. This range includes
the Master Primes, Master Macro 100, Ultra
Primes, Ultra 16 lenses, Lightweight Zoom
LWZ-1 and the Master Diopters. Playing on
the strengths of this lens range, ARRI and
ZEISS are introducing a new Master Prime
12 lens, while continuing to work on many
other projects.
Apple
ProRes Codec
ARRI
Imaging Technology
Electronic Viewfinder
Mechanics and Optics
Accessories
Third Parties
On-board
Batteries
SONY
SxS Cards
Third Parties
On-board
Recorders
Third Parties
ARRIRAW
Partner Program
open, Future Proof Architecture
The ALEXA system is based on an open
architecture with many industry-standard
interfaces and compatibility to third party
products. This provides more choice to
the customer and, in combination with a
number of modular components on the
camera, makes the system future proof.
We are closely working with third party
on-board recorder manufacturers to ensure
compatibility with ALEXA. This includes
physical mounting issues, remote start/stop,
metadata recording and ARRIRAW debayering.
While there are a large number
of recorders that can record HD video,
the ARRIRAW T-Link certificate allows an
easy identification of ARRIRAW capable
equipment. Currently, certified recorders
are available from Codex, S.two and
Keisoku Giken.
To guarantee a smooth workflow in post
when working with ARRIRAW, ARRI has
been working with numerous third parties
that have enrolled in the ARRIRAW
Partner Program. Their products can natively
read and process ARRIRAW data.
ARRIRAW capable equipment and tools
are available from: ARRI, AVID with the
ARRIRAW Avid Plug-in, Digital Vision,
DVS, Filmlight, Glue Tools, Iridas, MTI
and Pomfort. A complete overview and
links to ARRIRAW Partners, equipment,
tools and post facilities are available at
www.arridigital.com/contacts/partnerprogram.
A large variety of on-board batteries
are available for ALEXA since the camera
supports both the Gold and the V-mount
standard, in back or top mounted configurations.
To protect the investment in ALEXA,
three major components of the camera
are specifically designed in a modular
fashion. First, the module that holds the
memory cards is removable. When different
card standards are available in
the future, this module can be easily replaced
with other storage modules.
Second, the camera electronics, which
comprise the whole right side of the
camera, can also be removed and replaced
with an upgraded electronics
with advanced features. And last but
not least the Exchangeable Lens Mount
(ELM) system allows the use of PL as well
as Panavision and stills camera lenses,
expanding the option of the filmmaker.
Weblinks:
www.arridigital.com/teaser
www.arridigital.com/contacts/
partnerprogram
C a m e r a
0 5

0 6 C a m e r a
While the announcement of the ARRI Digital Camera System at IBC 2009 focused on the image quality of the system’s
35 format 3.5K CMOS sensor, the exciting news at NAB 2010 is the upcoming availability of the ALEXA camera,
ARRI’s implementation of the Apple ProRes codec and the camera’s versatile and highly efficient workflows.
The Camera
Based on extensive customer feedback and innovative technologies, the ALEXA camera
is a 35 format film-style digital camera that is part of a completely new universe of
cameras, lenses, accessories and recording solutions supplied by ARRI. Designed for
broadcast and feature film productions, ALEXA offers exceptional image performance,
is simple to operate, reliable in even the most extreme environments and versatile
enough to cover a wide range of workflow and budget requirements.
Main Features
• Image Performance
– Film-like, organic image quality
– Sharp images for HD and 2K DI
– 800 EI base sensitivity
– More than 13 stops exposure latitude
– Exceptionally low noise
– Same exposure latitude and low noise from
200 to 800 EI
– Excellent color separation
• Efficient and Versatile Workflows
– Efficient Direct-to-Edit (DTE) workflows
ç Record Apple ProRes onto on-board SxS cards
ç for straight online with ProRes
ç for off-line/on-line with ProRes and
ARRIRAW or uncompressed HD
– Parallel output of ProRes, HD and ARRIRAW
– Complete metadata
– Integrated color management
• ARRI Product Quality
– Robust and reliable
– Simple and safe operation
– Ergonomic design
– Compatibility with existing accessories
– Worldwide ARRI service
• Open, Future-proof Architecture
– The largest selection of matched PL mount lenses
– Support for third party on-board recorders
– Support for ARRIRAW post tools
– Gold and V mount on -board battery adapters
– Upgradable memory card module
– Upgradable camera electronics
– Exchangeable Lens Mount

How the Work Flows… Future Proof
The ALEXA system represents the most versatile,
fastest and smoothest method to get
images, audio and metadata from the set
to post and distribution. This is achieved
through a multitude of output options, support
for Direct to Edit workflows, rich metadata
and integrated color management.
The ALEXA camera is unique in that it can
simultaneously record Apple ProRes files,
output uncompressed HD-SDI video and
uncompressed ARRIRAW data. This output
versatility makes it ideal for a myriad of
productions and workflows from telenovelas
to feature films.
As one of only a handful of companies that
have licensed the ProRes codec, ARRI has
worked closely with Apple on creating
camera electronics that can encode images
with the ProRes codec and combine them
with audio and metadata into QuickTime
files in real time. The Apple ProRes codec
family provides an unparalleled combination
of multi-stream, real-time editing performance
coupled with impressive image
quality for 1920 x 1080 HD or 2K at reduced
storage rates. The availability of
such a high powered codec for ALEXA is a
revolutionary step that offers a number of
dramatic improvements for straight on-line
as well as for off-line/on-line workflows,
collectively known as “Direct to Edit” (DTE).
Productions that need to get HD images as
quickly as possible from the camera into post
can record QuickTime/ProRes files onto the
on-board SxS cards, pop the cards into a
laptop and start editing immediately. This is
the fastest and simplest method for increasing
production efficiency through tapeless,
filed-based recording. Recording the content
in the same codec that is natively used by
the Final Cut Pro editing software removes
the hassle of transcoding and takes full advantage
of the speed and power of the
editing software. Furthermore, the extremely
high quality of the ProRes 422 (HQ) and
4444 codecs means that the edited result
can be immediately distributed.
Productions that choose to record in uncompressed
HD or ARRIRAW for an off-line/online
workflow gain another benefit: the
QuickTime/ProRes off-line editing proxy is
created directly in the camera, carrying the
exact same images, audio, timecode and
metadata as the on-line HD or ARRIRAW
material. This removes the time-consuming
extra step of ingesting and creating an offline
copy, plus it ensures complete congruency
between off-line and on-line versions.
As the best recording media for Apple
ProRes files, ARRI has chosen SxS cards
because of their high data throughput.
Two SxS cards can be slotted into a module
on the camera’s left side for convenient
on-board recording of QuickTime/ProRes
files.
Smoothing out the workflow is rich metadata
in the QuickTime headers, a separate
XML file, the HD-SDI video stream and
ARRIRAW files. ALEXA generates all the
necessary information right in the camera
in the correct format and marries it to the
image.
Integrated color management allows the
cinematographer to apply a look file to any
camera output. This is extremely useful for
either “baking in” a look, or for recording
a “clean” log or ARRIRAW image and applying
a look file only to the camera’s monitor
HD-SDI output.
C a m e r a
To protect our customer’s investment in the
ALEXA camera, we have designed the left
and the right side as well as the lens mount
of the camera in a modular fashion. Attached
to the camera’s left side is the Removable
Storage Module RSM EC35, which holds
the SxS cards. Should another recording
technology prove more desirable in the
future, it is quick and easy to exchange the
storage module for a new one. The camera’s
right side contains the control electronics,
which can also be exchanged when a new
version with expanded functionalities becomes
available. To make a whole new
world of lenses accessible to productions,
ALEXA is equipped with an Exchangeable
Lens Mount (ELM) system. The standard PL
lens mount can be removed and replaced
with either a Pana vision or a stills camera
lens mount.
0 7

0 8 C a m e r a
Image Performance
ALEXA’s unequalled base sensitivity of 800
ISO equivalent, spectacularly wide exposure
latitude of over 13 stops and low noise means
greater flexibility and efficiency for the cinematographer
on the set. Furthermore, the exposure
latitude and low noise remain constant
from 200 to 800 EI. ARRI Imaging Technology
(AIT) ensures the most organic, film-like image
quality of any digital camera with natural
color rendition and pleasing skin tones. The
ALEXA’s 35 format sensor exhibits cinematic,
shallow depth of field and creates sharp,
natural images for HD and 2K DI. In addition,
the ALEXA images also show a very clean
color separation, which is particularly important
for green screen and other VFX work.
ARRI Product Quality
Decades of experience, an obsessive attention
to detail and an intimate familiarity with
the conditions on a typical set have led to
generations of ARRI cameras that are robust,
reliable and simple to operate. Those same
high quality standards have also been applied
to the ALEXA camera, leading to a number
of innovative and extraordinary solutions.
Production is tough and cameras have to
function anywhere on, below or above the
earth in all climatic conditions. To the ARRI
engineers, reliability is a mission-critical,
must-have feature. In order to fulfill those
requirements, ALEXA is built from a single
body, a design that is far more rugged and
lighter than an entirely modular body. The
camera’s electronics are housed in a sealed
compartment in the center of the camera.
The heat generated by the boards is transported
via heat pipes to a heat sink located
in a ventilation shaft at the back of the
camera. A single, slow running super-silent
fan cools the heat sink. If need be, the fan
can be easily exchanged. This system protects
the electronics, makes the camera
splash and dust proof and ensures proper
thermal management of sensor and processing
boards.
To further improve the legendary stability of
the ARRI lens mount, ALEXA is equipped
with a novel lens and sensor mount design.
The lens mount is attached to a stainless
steel tube, which itself is attached to the
sensor mount. The whole unit is then attached
to the camera body. Using stainless steel
ensures minimum material expansion or
contraction during temperature changes. A
stable flange focal depth is ensured by creating
a fixed link between lens and sensor
mount – even if strong mechanical influences
are applied to the lens mount, such as
when a heavy zoom lens is not properly
supported.
Equally as important as having a durable
camera is a camera that can be operated
in a straightforward and safe fashion. For
ALEXA we have thought up a completely
new control concept that combines a large
transflective color screen with dedicated
hardware buttons, flexible soft buttons and
a jog wheel. Operating ALEXA is even simpler
than operating the ARRIFLEX D-21, and
setting the main parameters like fps, shutter,
EI and white balance is something that anyone
can learn in a couple of minutes without
a manual.
We have also included many ergonomic
details that will help crews work faster and
safer during day to day operations. The
camera is compact, lightweight and properly
balanced for shoulder operation. Features
like a shoulder arch and 15 mm lightweight
rod receptacles are built-in, as is
support for video style bridge plates right
out of the box. Optionally, the camera can
accept its own film style bridge plate BP-12,
or can be attached via a small adapter to
existing film style bridge plates like the BP-3,
5, 8 or 9. For the greatest flexibility in
camera and accessory mounting, ALEXA
is equipped with a rosette and two 3 / 8 -16
mounting points on each side. More 3 / 8 -16
mounting points can be found on the viewfinder
mounting bracket and the handles.
Even in the button design have we found
potential for ergonomic improvement; different
button sizes, raised bumps on some
buttons and a judicious sprinkling of raised
lines and bumps on the camera housing itself
help fingers find buttons quickly and
safely even in the dark.

Powerful options 3D optimized
The Electronic Viewfinder EVF-1
Multiple options are also available for
powering the camera. ALEXA accepts
either a 24V power cable from a power
supply or battery, or can be equipped
with battery adapters that mount either on
top and/or back. Battery adapters are
available for either Gold or V mount batteries.
Batteries can be hot-plugged as
the camera will instantly auto-switch to
the power source with the highest voltage.
Line level stereo audio can be fed into a
standard XLR 5 pin connector, and will be
embedded into the QuickTime/ProRes files,
HD-SDI stream and ARRIRAW data.
Various features of ALEXA make it the perfect
choice for 3D rigs. Careful planning
has gone into making sure that each camera
will show the same exact timing as all the
others for reliable synchronization between
left and right eye cameras. A simple master/
slave mode makes setting parameters a snap.
The camera’s unmatched high sensitivity helps
compensate for the light loss in mirror rigs,
and its compact size reduces the rig’s size
and weight. And last but not least, high
dynamic range has been identified as one
of the contributing factors to a better stereoscopic
impression for the audience.
While an optical viewfinder still provides
the best operating experience, it comes at
a price and added weight. For ALEXA we
have developed the high resolution ARRI
Electronic Viewfinder (EVF-1), a viewing
system that combines a state-of-the-art temperature
stabilized 1280 x 768 F-LCOS micro
display with an innovative auto-calibrating
LED light engine, high-quality coated glass
optics and robust mechanics. The system offers
much more than a conventional electronic
viewfinder; it has been specifically designed
to meet the needs of professional camera
operators by offering high resolution, accurate
color reproduction, great ergonomics,
overscan and extremely minimal image delay.
Weblinks:
www.arridigital.com/
www.arridigital.com/alexa-reservation
www.arridigital.com/teaser
C a m e r a
0 9

1 0 C a m e r a
Letting the Work
ARRI is well known for providing
the professional motion picture
community with innovative, high
quality tools and services. Our
mission has always been to
enable customers in building a
sustainable business based on
reliable ARRI products and
empowering creatives to realize
their visions. While digital
film-style cameras offer many
creative benefits to customers,
it can also result in complex
workflows. ARRI carefully
packages innovative technology
into easy and efficient workflow
solutions. This exclusive introduction
provides an overview
of how simple, efficient and cost
effective the ARRI ALEXA is in
getting the job done and simply
letting the work flow.
© Cinematographer Style
Digital Workflows ALEXA outputs
With a legacy of over 90 years in
filmmaking, ARRI understands the
need for simple to use tools that are
dependable to allow the filmmaker
to focus and the creative process to
blossom. The unavoidable complexity
needs to be effectively and ergonomically
integrated “under the hood”,
allowing the user to focus on the job
at hand. Developing technology to
serve creativity, ARRI must also be
aware of the budget considerations
that are made and how this impacts
production.
A digital camera system with unsurpassed
imaging capabilities and integrated
workflow features: Like the
ARRIFLEX D-21, ALEXA cameras provide
widely adopted, proven technologies
such as uncompressed HD
output over HD-SDI and full sensor
resolution that is uncompressed,
uncompromised ARRIRAW output
through the T-Link interface. Additionally,
ARRI has been working on
integrating Apple ProRes codecs
and QuickTime for unprecedented
ease of use and workflow speed.
Russell Carpenter, ASC
comments on the material he shot with the D-21 in anamorphic ARRIRAW:
“I’m timing 5 KILLERS at Efilm. The footage is pretty damn sensational
and there is tons of latitude to move the image around… picking
out great detail in the highlights… with a minor tweak it looks completely
filmic…”

Flow
Apple ProRes
Direct-to-Post Workflow
Completely new to ARRI cameras is the
power to record compressed audiovisual
files onto removable solid state memory
cards. The unique ability to write Quick-
Time MOV files containing Apple ProRes
422 (HQ) or ProRes 4444 onto SxS cards
directly in the camera is a groundbreaking
step towards interfacing effortlessly with
postproduction. In-camera generation of
additional files, such as a Final Cut Pro (FCP)
XML, allows for transporting additional
metadata and workflow automation details
to complete a true Direct-to-Edit workflow
for Final Cut Pro systems.
ProRes is a high quality, intra-frame codec
especially designed for postproduction and
editing purposes. The native support provided
in Apple Final Cut Studio offers direct access
to the complete suite of postproduction tools.
The recently introduced ProRes 4444 addresses
high quality production demands,
emerging as a state-of-the-art finishing codec.
It works without the need for chroma subsampling,
thus treating colour information as
equally important as luminance. In addition,
it addresses even higher quality demands by
supporting 4:4:4 RGB colour at bit depths of
up to 12 bit. This is especially beneficial for
cinema releases, VFX, keying and image
content with detailed, fine colour transitions.
Recording with ProRes codecs, QuickTime
wrappers and FCP XML onto SxS cards,
creates Direct-to-Edit (DTE) functionality for
Final Cut Pro, with an extremely quick editorial
timeline. Accessing captured files
consisting of images and audio is as simple
as taking the SxS card from the camera,
entering the card into the ExpressCard34
slot on a Mac and dragging the XML file
into FCP. The files load directly into FCP.
Other benefits of recording
directly in ProRes QuickTime
files are:
• No time consuming, processorhungry
and quality-degrading
transcoding or codec cascading
• No extra storage requirements
for additional files are needed
• No error-prone converting,
selecting or entering of
metadata is required
• ALEXA generates everything
you need, internally, in real
time and in the right format.
Look Files
and other metadata
C a m e r a
The ability to apply “Look Files” in ALEXA
provides the option of instant dailies straight
out of the camera in a directly accessible
format – a major time and cost saving feature.
An SD card slot is provided in the
ALEXA to exchange Look Files. These Look
Files can be applied to the output signals
for baking the look in, or can be passed
on as metadata in files on the SD card.
Besides the integration of the DTE functionality,
ARRI enhanced the HD-SDI output capability
through the use of embedded metadata.
Whereas previously it was necessary to
choose LUTs (Lookup Tables) or set ARRIRAW
parameters manually, now with the development
of the new ARRIRAW v3 Header, ARRI
has extended the .ari file format to facilitate
a better communication between camera,
recorder and postproduction systems. As
a result of long term development collaborations
within the ARRIRAW Partner Program,
auto-selection of LUTs or processing parameters
for ARRIRAW are possible. This enables
simple offline-to-online conforming from
compressed or uncompressed HD to uncompromised,
highest quality ARRIRAW.
ARRIRAW is the only way to access the full
potential of the ALEV III sensor, which has
colour and dynamic range capabilities far
beyond standard HD.
Metadata that will be embedded in the HD-SDI
output will also enable remote start and stop
functions as well as an auto-selection of conversion
LUTs when shooting Log C HD on compatible
recording systems.
11

12 C a m e r a
ARRI Automated Workflows (AAW)
are now possible with the ALEXA
by embedding metadata in:
• HD-SDI Stream
• QuickTime Header
• XML Files
• ARRIRAW v3 Header
Conform Workflows
A possible uncompressed workflow that
takes full advantage of ALEXA’s powerful
internal processing capabilities is one where
the simultaneous recording of ProRes MOV
files is made onto removable SxS cards incamera,
performed together with ARRIRAW
recorded over T Link to certified recorders
from companies such as Codex, Keisoku
Giken or S.two. The ProRes MOV files offer
immediate editing capability in Final Cut
Pro. Once the editing sequence is finalized,
a tool such as Glue Tools Digital Conform for
Final Cut Pro can be used to link the edited
ProRes data to the uncompressed ARRIRAW
files. This new Glue Tools package consists
of a Shot Management Tool, a Conform
Tool and a Consolidate Tool. The combination
of each of these tools allows the editor
to not only perform an "Online/Offline"
conform, but also manage colour as well.
Such a simple, automated workflow will completely
revolutionize the future for uncompressed
recording, offering accessibility and
security for productions ranging from lowbudget
commercials to high-end TV dramas
and of course for motion picture films as well.
The Glue Tools ARRIRAW Toolkit and Conform
Tool are available at www.gluetools.com
ARRIRAW
Uncompressed
Bayer-Sensor Data
Transported via
SMPTE 372M
ARRIRAW
Uncompressed
Bayer-Sensor Data
Header / Metadata
For Example
YCrCb Rec 709
or
RGB DCDM
ARRI
Digital Camera
ARRI T-Link
ARRIRAW
Recorder
.ARI
ARRIRAW
Postproduction
e.g.
DPX
Master
ARRIRAW Converter ARRIRAW SDk and
Real Time Capabilities
The ARRIRAW Converter (ARC) has also
been updated to support new ALEXA formats
and features. The Graphical User Interface
(GUI) version for Windows now offers a
GPU-based viewer that allows instant previewing
of ARRIRAW files. Additionally new
command line versions are available for
several Linux distributions. ARRI is very
pleased to offer ARC also for Mac OS
now. The latest ARC installers can be downloaded
at www.arri.com/arriraw and
www.arridigital.com/arc
ARRI IMAGING
TECHNOLOGY
ARRIRAW
Converter
ARRIFLEX D-21
With the introduction of the new ARRIRAW
SDK, partners will be able to integrate ARRI
debayering and image processing algorithms
into their systems. Instead of requiring dedicated
hardware for fluent playback of ARRIRAW
file sequences, our approach is to utilize
Nvidia GPUs, allowing the use of standard
hardware to accelerate playback and real
time processing – creating yet another cost
saving and efficiency benefit. Systems using
the ARRIRAW SDK can be identified by the
ARRI Imaging Technology (AIT) label.
Adrian Widera
Codex
High Res
Media Recorder
ARRI IMAGING
TECHNOLOGY
ARRI Avid Plugin
Avid MetaFuze
Avid DS
TM
Keisuko Giken
UDR-D100
Digital Vision
Nucoda
S.two
DFR2K-AR
DVS
Clipster

S.two
OB-1 *
FilmLight
Filmlight
Baselight
+
S.two
FlashDock *
*T-Link Certification still in progress
IRIDAS
Speedgrade
FrameCycler
MetaRender
MTI Film
Control Dailies
“We’re very excited to see ARRI leveraging
the power of NVIDIA ® CUDA technology”
said Andrew Cresci, GM Vertical Marketing
at NVIDIA ® : “If you’re a director of photography
and you’ve got an entire crew waiting
for directions on a series of shots, you
want to streamline the decision making process.
With CUDA parallel processing technology,
ARRI can now deliver real-time preview
of RAW video at full resolution – greatly
accelerating the quality and speed of making
critical decisions.”
Express Card 34 – Content Overview
Wrapper-MOV
POMFORT fn
SilverStack &
Cinemator
Pomfort
SilverStack
Cinemator
ARRIRAW
Audio
Image Metadata Metadata
Project/Bin File
FCP XML
Metadata
Glue Tools
ARRIRAW Toolkit
Conform Tool for
Final Cut Studio
ProRes 422 (HQ) MOV
ProRes 4444 MOV
FCP XML
e.g.
DPX
Master
Weblinks:
C a m e r a s R e c o r d e r P o s t p r o d u c t i o n T o o l s
Summary
The ALEXA digital camera system
with its variety of recording op tions
and seamless integration into the
most advanced postproduction
systems embodies the ARRI
philosophy of building better
products for professionals.
By integrating most appropriate
technologies, defining interfaces
and harmonizing formats, the
exchange of media and metadata
is optimized between all workflow
components. The ARRIRAW Partner
Program has proven to be a great
network to exchange and co-develop
technologies and workflow solutions
that reduce complexity and offer
increased efficiency.
ALEXA Workflows – simplicity and
efficiency from the multi-award
winning, leading professional
motion picture camera manufacturer
– offering the best tools for
the job, and bringing creative
freedom and competitive
advantage to the user.
ARRIRAW Website and Support
ARRIRAW Website www.arri.de/arriraw
www.arridigital.com/contacts/partnerprogram
ARRIRAW Customer Support ARRIRAWSupport@arri.de
ARRIRAW T-Link Certified Recorders
S.two www.stwo-corp.com
Codex www.codexdigital.com
Keisuko Giken www.keisoku.co.jp
C a m e r a
ARRIRAW Capable Tools
ARRI ARRIRAW Converter (ARC) www.arri.de/arriraw
www.arridigital.com/arc
ARRIRAW Avid Plug-in www.avid.com, www.arri.com/arriraw
Digital Vision Nucoda www.digitalvision.se
DVS Clipster www.dvs.com
Filmlight Baselight www.filmlight.ltd.uk
Glue Tools www.gluetools.com
IRIDAS Speedgrade www.iridas.com
MTI Film Control Dailies DA www.mtifilm.com
Pomfort Silverstack/Cinemator www.pomfort.com
13

14 C a m e r a
BEEF
u
uuu
u
u
u
Earlier this year, Avid released Avid DS v10.3 and Avid
MetaFuze v2.1.0. Installing the ARRIRAW Avid Plug-in
adds native ARRIRAW file support to these products. The
Plug-in is available in two versions: Basic and Premium.
The Basic version is free to use, offering support for full
HD 1920x1080 resolution. The Premium version allows
output resolutions higher than 1920x1080, with faster
and better quality rendering and efficiency gains due to
the ARRI Automated Workflow. The Premium version’s
multi-threading and auto-selection of image processing
parameters make ARRI Automated Workflows simple,
fast and error-free. The Premium version will be shown
for the first time at the NAB 2010 show. “The compatibility
between ARRI & Avid solutions allows our customers to
bridge the gap between production and post production.
ARRIRAW is natively supported in Avid MetaFuze and
Avid DS, creating a seamless integration between offline
to finishing that gives our customers a more efficient and
cost effective workflow, and at a very high quality,” says
Vincent Maza, Avid’s Worldwide Marketing Manager
Post Production.
An ARRIRAW
u
The ARRIRAW Avid Plug-in can be downloaded
and activated at www.arri.com/arriraw

Workflow Case Study
ARRIRAW Workflow B E E F
D-21
T-Link
Stwo
OB-1
FlashMag
FlashDock eSATA
ARRIRAW
Header Editor
.ari v1 Files
RAID
An alternative workflow has just been pioneered
on the production of BEEF, a project
of the Stuttgart Film School HdM. ARRIRAW
data was recorded onto an S.two OB-1 onboard
recorder and .ari files were offloaded
with the now available S.two FlashDock to a
hard disk RAID. The Avid MetaFuze application
with the ARRIRAW Avid Premium Plug-in
was used to transcode the .ari files to Avid
DNxHD MXF files. The ARRIRAW Avid Premium
Plug-in’s multi-threading and auto-selection
of image processing parameters made this
ARRI Automated Workflow simple, fast and
error-free. An Avid Log Exchange (ALE) file
was used to transport additional metadata
into the Avid Media Composer for editing.
From the perspective of the editor, the process
of working with ARRIRAW originated
files was completely transparent.
Once the sequence was finalized, an Avid
File Exchange (AFE) file was exported from
the Avid Media Composer into an Avid DS
system. Loading the AFE into an Avid DS allowed
for conforming the complete sequence,
applying either the ARRIRAW processing info
from the .ari v3 file header or from the
AFE/ALE.
ARRIRAW settings of each individual clip in
the sequence could also be changed after-
Parameter
XML
Native
.ari v3 Files
Conform ALE/AFE
Conform ALE/AFE
Auto-Select
Avid MetaFuze
Avid DS
EDL
Nucoda
Film Master
Final Master
wards. It was also possible to manually choose
parameters during loading of ARRIRAW files.
Once the work in Avid DS had been completed,
the shots were rendered out. Final
grading was performed on a Digital Vision
Film Master, importing the sequence and
re-linking to the ARRIRAW files and the Avid
DS pre-computes. ”Many of our customers
have specifically asked for ARRI Digital
camera support, so ARRIRAW native file integration
as part of our recent Nucoda Film
Master 2009.1 release was essential to ensure
we provide the right workflows for our
customers and their clients,” says Martin
Bennett, VP Worldwide Marketing at Digital
Vision.
Adrian Widera
“The combination of ARRI’s Digital Camera
System and S.two’s OB-1 on-board recorder
provide a compact and reliable setup for
ARRIRAW acquisition. Together with the
S.two FlashDock and the ARRIRAW Avid
Plug-ins the best possible flexibility and
highest quality demands in postproduction
are met.”
Marcos Eberle, 1st AC + Editor BEEF
DNX MXF’s
ALE
Avid Media
Composer 3.x
AFE
C a m e r a
15

16 C a m e r a
Continuous Improvements –
ARRIFLEX D-21 Upgrades
The ARRIFLEX D-21 remains the top of the line ARRI digital camera with its 4:3 sensor, optical viewfinder and film-like,
organic image quality that matches the ALEXA’s image look. Two new upgrades further enhance the D-21’s capabilities.
Software Upgrade 1.17
Over the past months, ARRI has continued
improving the D-21. Software upgrade 1.17
further increases its stability and reliability
while laying the groundwork for the new
features of upgrade 1.18.
Software and Hardware Upgrade 1.18
It is time to take the D-21 to a new level. Upgrade
1.18 builds on top of the solid foundation
of software upgrade 1.17 and introduces
a variety of new features unmatched by any
competitor.
Simplified Menu Structure
A further simplified menu structure makes
operation even faster, while introducing new
functions like white balance setting in 100
Kelvin steps as well as user and rental presets.
The backbone for this is the new centralized 60 fps – in 4:4:4 and ARRIRAW
The 1.18 software upgrade and modification
of the camera left buttons can be performed
parameter management, allowing for a fail- Slow motion can be shot in 4:4:4 or 12 bit free of charge at any ARRI Digital Camera
save operation even in a worst case scenario – ARRIRAW 16:9 up to 60 fps utilizing quad link Service center.
for example when cutting power off while output. The D-21’s unique dual PIM output
changing an operating mode. A faster boot- capability had that potential all along and it Main Features Upgrade
up time and faster mode changes also further was just a matter of time before adequate
improve the D-21’s strengths of being the capture devices would become available. This Main Features (Upgrade 1.17)
fastest and easiest digital camera on set. feature will be supported soon by a number • Reliability Improvements
of third party recorder manufacturers.
- Centralized parameter management
Outstanding image quality has always been a
- Faster boot-up time
key feature separating the D-21 from other digi- Electronic Shutter modes – angles >180°
- Faster mode changes
tal cameras. Software upgrade 1.17 improves An increase of sensitivity of up to ½ stop can - Easier updating, logging and diagnosis
the D-21’s image quality by reducing a num- be achieved by turning the rotating mirror
for service
ber of artifacts that could be visible when using shutter off and utilizing the electronic shutter. • Image Quality Improvements
high gain factors. While the ghost and H-smear While providing more light to the sensor, the - Reduced ghost and H-smear
artifacts in the D-21 have been negligible com- higher shutter angle enhances the creative Main Features (Upgrade 1.18)
pared to the typical CCD smear artifacts any- choices of filmmakers by increasing the ex- • 16:9/60 fps in 4:4:4 and ARRIRAW
way, we strove to reduce them even further posure time.
- Via quad link (4x BNC cables)
through sophisticated in-camera algorithms.
- Will be supported by various third
Auto-start Recording
party recorders
Higher serviceability by introducing easier A special flag in the HD-SDI stream can auto- • Electronic Shutter >180°
update, log and diagnosis functions conclude matically turn on recording for selected third - up to ½ stop more sensitivity
the many improvements of this release. Re- party recorders, including Sony SRW-1 and - Electronic monitoring only, no
lease 1.17 is a pure software upgrade and can various other third party recorders. This also
optical viewfinder
be performed by end-customers. To down- necessitates a hardware change: the camera • Auto-start Recording
load, please refer to the website:
left buttons will be re-assigned. The PROG - Record flag in HD-SDI stream (like ALEXA)
button will now start and stop the mirror shutter - Compatible with Sony SRW-1 and various other
www.archiv.arri.de/prod/cam/
arricam/software/in_D21.htm
independent of recording. Like on the ALEXA,
the green RUN button will become a red REC
button.
third party recorders
- Change green RUN to red REC button
(like ALEXA)
- SHUTTER button starts and stops mirror shutter
independent of recording
• Simplified and Improved Menu Structure
D-21 Upgrade 1.17 D-21 Upgrade 1.18
- For safe and fast operation
- software only - software and hardware
- White balance in 100K steps
- available for download from website - available through ARRI Digital Camera Service Centers
- Rental and user default presets
- free of charge - free of charge All data subject to change without notice.

Recently, the newly founded ARRI Digital
Workflow Solutions group presented its
“Workflow Guidelines: Recommended
Practice for Shooting with ARRIFLEX D-21.”
This technical information is designed to
help customers working with ARRI’s first
digital camera to decide which workflow
best suits their needs. The guide provides
an in depth explanation of the individual
camera modes, such as HD, ARRIRAW and
Mscope, as well as of the various recording
options, and addresses the pros and cons
of each of these processes. This takes the
hassle out of the complexities of a digital
shoot and the postproduction involved in
creating the desired final product. An update
will be soon made available at the
launch of ALEXA. The new “Recommended
Practices” are going to illustrate and explain
more streamlined workflows that are introduced
by new options such as recording
compressed images to onboard memory
storage and the ARRIRAW Partner Program.
Digital Workflow Solutions was established
in late 2009 and is headed by Henning
Rädlein, who was in charge of the Digital
Intermediate, Commercials and Visual
Effects departments of ARRI’s postproduction
subsidiary, ARRI Film&TV. Other members
of this task force are: Christian “Geoffrey“
Grafwallner, previously R&D Supervisor at
ARRI Film&TV; Oliver Temmler, Application
Engineer in the camera department; Andreas
Berkl, previously responsible for the supervision
of digital shoots at ARRI Rental Germany;
as well as the colorist Florian “Utsi“
Martin (THE LOVELY BONES, PERFUME, LORD
OF THE RINGS).
DoP Anna Foerster and Camera Operator Sebastian
Meuschel currently shooting ANONYMOUS
Digital Workflow
Solutions
(f.l.t.r.) Andreas Berkl, Florian “Utsi“ Martin, Christian “Geoffrey“ Grafwallner,
Oliver Temmler, Henning Rädlein
Digital Workflow Solutions is entrusted with
defining system-based solutions for the integration
of ARRI’s digital products, based on
existing equipment and with publishing
relevant guidelines. They make recommendations
for the development of file-based
workflows for the ALEXA Digital Camera
System and are committed to user trainings.
Adrian Widera, product manager for storage
and partner solutions, who initiated the
ALEXA Direct-to-Edit concept and developed
the ARRIRAW Partner Program, supports the
Digital Workflow Solutions group.
In spring 2010 ARRI opens the doors to its new
showroom and training center at its Munich
headquarters. There, the workflow group will
showcase various cameras, all related postproduction
processes, and offer trainings. The
group will also be available as an advisory
and service partner, providing their customers
with tailor-made solutions for their individual
needs. Equipped with Apple and Avid workstations,
the newly created facility features
various HD and raw data storage solutions,
as well as show casing data management,
finishing and color correction software of
various partner companies.
Digital Workflow Solutions will also develop
custom-made workflows and solutions for
the ARRISCAN, ARRILASER, and ARRICUBE,
as well as for their clients’ keykode and
meta data management needs. Currently,
the group provides support for productions
shooting on D-21 in ARRIRAW and for the
first feature shot with ALEXA: ANONYMOUS
by Roland Emmerich.
Henning Rädlein
Contact: digitalworkflow@arri.de
C a m e r a
17

18 C a m e r a
Habemus Papam
1 st AC Tommy Mann (left), Director/DoP Ciro Cappellari
The ALEV III sensor dares to go where no lights are allowed
The sensor demonstrator of ARRI’s next-generation digital camera system was
put to use at the end of November 2009 on its first professional production.
Boasting a base sensitivity of at least 800 EI equivalent and exceptional
latitude, the ALEV III is a 35-format CMOS sensor that has been specifically
developed for the groundbreaking ALEXA digital camera, which will be
launched this year.
Ciro Cappellari, the acclaimed Argentineanborn
director, cinematographer and writer,
utilised the new ARRI sensor for selected
sequences of HABEMUS PAPAM, his latest
documentary feature. “We needed some
representative shots of Rome, because our
film explores the influence of the Vatican on
the city,” says Cappellari. “For these shots
we wanted a very high picture quality and
a dramatic look, so we were filming at dawn
and also at dusk. We did some shots of the
sun coming through clouds onto St. Peter’s
Basilica with at least ten stops of latitude
and it was no problem for the ARRI camera.
I had the feeling that I was working with a
35mm negative when I saw the pictures.”

The sensitivity of the ARRI sensor demonstrator
proved useful for interiors at the
Sistine Chapel, where the production was
forbidden from using any lights. “We were
filming the architecture and the frescos,”
continues Cappellari. “The light in the
chapel was exactly the same as when those
frescos were painted: a very low light that
comes from windows at the top. It was
beautiful to be able to film in that same
light with the 800 ASA ARRI camera.”
For Andreas Berkl, a support specialist from
the ARRI Digital Workflow Team in Munich
who provided on-set support, the shoot was
an invaluable element of the exhaustive R&D
work that ARRI is putting into the new digital
cameras in advance of their launch. “The
system is still under development, so this
was an excellent opportunity to test it in the
The images we
got are absolutely
great and the
camera performed
very well
in extremely low
light conditions.
Norbert Preuss
field,” he says. “We were keen to use the
demonstrator on a real production and we
learned a lot.”
The sensor’s unparalleled combination of
sensitivity and image quality again proved
useful for interiors at St. Peter’s Basilica. “It
was important to have high resolution and
sensitivity for some POV shots of the children
in our story entering the basilica for the first
time,” says Cappellari.
Shooting in Log C mode, the camera crew
made use of ARRI Variable Primes as well
as a range of ARRI Ultra Primes, which
allowed staggeringly sharp images of
Renaissance masterpieces to be captured
in difficult lighting conditions. “Inside the
Sistine Chapel we were wide open on the
lenses and inside St Peter’s it varied between
T4 and T11,” notes Berkl. “We were using a
crane and were panning across the interior,
so we used an Iris Control Unit with the
ARRI Lens Control System to compensate for
exposure changes when we moved from
windows to darker areas.”
Editing the material some time after the
shoot, Cappellari reports that “although
we’re not editing in full resolution, I can
already see the incredible quality of the
pictures from the ARRI sensor; the colours
and the intensity are very strong.” Producer
Norbert Preuss concludes that “it all went
fantastically well. The images we got are
absolutely great and the camera performed
very well in extremely low light conditions.”
Mark Hope-Jones
I had the feeling
that I was working
with a 35mm negative
when I saw
the pictures.
Ciro Cappellari
C a m e r a
19

2 0 C a m e r a
The first feature film to combine ARRIRAW with on-board recording
FIGLI DELLE STELLE
FI G LI D ELLE STELLE is an Italian comedy feature, directed and co-written by Lucio Pellegrini and shot by cinemato-
grapher Gian Enrico Bianchi. It was produced by Rita Rognoni and Beppe Caschetto for ITC Movie, Pupkin Production
and Warner Bros. The shoot began on October 12 th 2009 and lasted for seven weeks, incorporating locations from
downtown Rome to a glacier 3,900 metres up in the Italian Alps, close to the border with Switzerland.
DoP Gian Enrico Bianchi with the D-21 on the
Plateau-Rosà glacier at -20°C

The production was supplied with ARRIFLEX
D-21 digital cameras, S.two OB-1 on-board
recorders and ARRI Ultra Prime lenses by
the Rome-based rental company D-Vision,
which also provided technical and logistical
support. Technicolor Rome supervised postproduction
and, in collaboration with both
D-Vision and ARRI, created the best possible
workflow to handle the raw, uncompressed
data captured by the D-21 cameras with
ARRIRAW technology.
“All of us were aware – and a bit scared –
that this was the first feature film worldwide
to be shot in ARRIRAW with on-board recording,”
says Pierpaolo Gualà, Managing
Director of D-Vision. “As usual there was
extremely limited time to establish and fully
test a total workflow, which obliged all the
people working around this exciting project
to make adjustments as the shoot progressed
to ensure that the production ran as smoothly
as possible.” Cinematographer Gian Enrico
Bianchi notes that “in order to get prepared
we made many different tests, supported by
D-Vision and Technicolor Rome and – apart
from a few hitches due to inexperience – we
immediately had positive feelings.”
Part of the function of the testing phase was
to establish whether or not the D-21 was
going to be able to deliver the high quality
images that the production demanded.
“During preproduction, after the tests, we
happily discovered a quality response that
was much better than any optimistic expectation,
in comparison with any other digital
camera,” affirms Gianpaolo Giusti, Digital
Services Operation Manager at Technicolor
Rome. “The production consequently decided
to go ahead and shoot in ARRIRAW. The
result had been an extremely clean image,
without noise and with a great exposure
latitude. We made some tests on film and
the result is excellent; the camera records an
astonishing quantity of information.”
Gianpaolo Giusti
Bianchi was also extremely pleased with how
the D-21 performed. “The image quality
was very high and could not only reach a
capacity of exposure similar to a 35mm
negative, but also achieved a surprising
plasticity and precision of detail in the
shadows, and a colorimetry that was exactly
the one we wanted for the film,” says the
cinematographer. “The D-21 has been surprisingly
reliable performing in different
situations; even when we used it in extreme
conditions such as 3,900 metres up on the
Plateau-Rosà glacier at -20° C it worked
perfectly, allowing us to shoot beautiful
images. The film has been shot completely
handheld with Ultra Prime lenses, and the
ergonomic shape of the camera helped a
lot, together with the optical viewfinder and
automatic shutter.” Pierpaolo Gualà adds
that “the optical viewfinder of the D-21 gave
the operators a view of the scene identical
to what they are used to with film cameras,
which gave them more confidence and
comfort.”
The fact that Bianchi wanted a handheld
look for the film meant that an on-board
recording device was extremely important, as
it allowed the D-21 to be operated untethered.
Weighing in at less than 3kg, the OB-1
recorder from S.two was ideally suited to the
task. “Obviously the need to shoot mainly
on the shoulder and in extreme climatic
conditions made the on-board recording
system much appreciated,” continues Gualà.
“The OB-1 is compact in its dimensions and
has the capacity to record up to 30 minutes
of footage. In some situations we also used
the DFR2K-AR recorder [also from S.two],
which is extremely robust but less portable.”
Technicolor Rome helped the production set
up monitoring and image appraisal tools
on set, working with the crew to ensure that
an accurate representation of the captured
image colorimetry was available to them
throughout. “After a while I learnt how to
expose in order to get the best out of the
camera by following my instinct,” says
Bianchi. “Now I know that the D-21 can
record far beyond the compressed raw file
visible on the HD monitor on set.”
With the project completed, Gualà comments
that “FIGLI DELLE STELLE achieved the goal of
finishing on schedule and also of being an
excellent film. This success was the result of
a fundamental collaboration between D-
Vision, Technicolor, ARRI Italia and the
experts at ARRI Munich, who supported the
C a m e r a
production at every stage.” Production
Manager Attilio Moro adds that he “would
like to thank ARRI for giving us the opportunity
to shoot a feature film with this technology.
We have been the first, in Italy, to shoot
like this with the D-21 and I would say that
it has been a great opportunity to test a new
way to make movies with almost the same
result as film in terms of quality, but with a
lower budget.”
Despite, or perhaps because of the extra
effort required to try something for the first
time and make it work, Bianchi found the
job to be an extremely rewarding one.
“Shooting a movie in the ARRIRAW format
has been the biggest challenge I’ve ever had,
and now that it’s over I can definitely say it’s
been a fantastic adventure,” says the cinematographer.
“I’m looking forward to my
next experience with the D-21, which I reckon
is a revolutionary camera in many respects!”
Antonio Cazzaniga/Mark Hope-Jones
21

2 2 C a m e r a
Trusting the D-21 on
LIE TO ME stars Tim Roth as Dr. Cal Lightman, a lie detection
specialist who determines the truth by interpreting body
language and psychology. To depict these small tics and
“microexpressions,” the show takes advantage of the
ARRIFLEX D-21’s full sensor and shallow depth of field for
these extreme close-ups. The series is photographed by
Sidney Sidell and Joseph Gallagher, with each Director of
Photography shooting alternating episodes on cameras
equipped by The Camera House.

LIE TO ME
When Sidell
was brought
onto the project
for the show’s
second season,
he immediately
began doing tests with different camera
systems including the Sony F-35, F-23 and
RED. “What sold me on the D-21 was the
color and latitude,” Sidell explains. “I saw
more information from the D-21. The F-35
clipped at a certain point in the high range.
Then you’d look at the D-21, it actually would
just spike up higher and there was no cut
off. It went as far as it could go, and then
came back down. With the F-35, there’s an
actual cut off point in the high end.”
Sidell’s DP credits include the crime dramas
LIFE and WANTED. He previously worked as
a camera assistant and camera operator
early in his career. “I’m a huge fan of the
optical viewfinder on the D-21. It’s easier
on the eyes, it shows truer color and contrast
rendition. I can actually light through the
viewfinder and the over scan in the eyepiece
is great. You get a full frame with ground
glass markings. On the F-35 or the Genesis,
the frame line is the eye piece viewing area,
so the operators don’t have a chance to see
if something is entering the frame,” he notes.
LIE TO ME shoots with two to three cameras
at a time and on Sidell’s set, the DP chooses
to work without a Digital Imaging Technician
(DIT). “Coming from a film background, I was
really drawn to the D-21 because I didn’t
feel that I needed to have an on-set DIT. I
have the creative freedom to take a film
approach to working in a digital environment
and have control of the image. It became a
no-brainer to use this camera system,” he says.
The show’s multi-racial cast presents a
spectrum of skin tones, often with actors of
contrasting tones in scenes together. Sidell’s
deft visual style allows this diversity to be
showcased – an ability that he partly credits
to the D-21’s handling of skin tones and the
lenses that are used. “I have found that the
flesh tones are much more pleasing on the
D-21 compared to other cameras. They feel
really beautiful to me. They are softer and
have a much closer look to film. The other
cameras truly have more of a video feel. We
light different actors and different skin tones
in different ways, but I don’t have a problem
where one person ‘jumps out’ and the other
person disappears, or one person is lit too
harshly, the other not. The D-21 isn’t particular
to one or the other, it actually picks
out those proper skin tones,” explains Sidell.
Besides the D-21’s versatility in rendering
skin tones, the cinematographer has been
impressed with its capability in shooting night
scenes and dealing with under exposure.
“My gaffer and I have been very surprised
with this system. We know it has an ASA
200 rating, but I go back and forth from
200 to 400 ASA all the time based on how
I want to control the overall lighting balance
and depth of field. We did some night work
in our first episode shooting with the D-21
and I lit the front of a building two and half
stops under key. I rated it at 400. I looked at
dailies and the building was almost too bright
at two-and-a-half stops under. I realized I
can light much more under than I expected
and have the confidence to know that I still
have plenty of latitude in the under exposure.
I’ve been doing some of the night scenes now
where the key is two stops or two-and-halfstops
under exposed and it looks amazing.
The grain was still fine – it held the color
and information in the shadows. The blacks
held and it was pretty amazing.”
Now in its third season, LIE TO ME airs in
over 40 countries around the world.
An Tran
Sidney Sidell
C a m e r a
2 3

2 4 C a m e r a
It is the end of August, 2009
and the start of a risky experience
with an uncertain ending.
We are departing for Spitsbergen
in search of polar bears –
the most dangerous land-based
predators in the world. Our aim
is to document the ways in which
climate change and global
warming influence the bears’
living environment. We do not
know what kind of unforseen
dangers we might encounter,
or indeed whether we will find
the giant white animals at all.
What we do know is that we can
expect magnificent scenery –
a landscape of unique beauty
and magic, colours of incredible
intensity and conditions that will
challenge us!
on the Trail of the Polar Bears
with the ARRIFLEX D-21
Latitude
In order to appropriately document this
unique story, it was essential to choose
the right equipment. Even more so because
our team consisted of just three individuals:
director Kai Schubert, assistant Daniel
Delbeck and myself. For this reason, the
equipment had to be compact; at the
same time, however, it had to be of a
technical standard that would do justice
to our topic. We decided to use the
ARRIFLEX D-21, with a Zeiss Master Zoom
lens and an SRW-1 unit for recording.
Of course we had to consider the question
of whether, under these circumstances,
the decision to use the D-21 was correct –
whether this system could cope with such

81 Degrees North
extreme cold, rain, snow and ice. Never
before had a D-21 been exposed to such
conditions!
It proved to be the ideal choice; the D-21
in 4:4:4 format perfectly captured the
depth and scale of the landscape as well
as the glinting ice, the thrilling colours of
icebergs and glaciers, and the enchanting
skyscapes created when the sun sank low
on the horizon. It simply allowed us to
portray the genuine character of the Arctic
and bring it closer to the viewer – this
unique and endangered world that is
home to the white predators.
Everything worked fantastically, including
the initial training at ARRI, the packing
of equipment, the journey to Spitsbergen
and the loading onto our ship – the MS
Hans Fischer
…started as a DoP at Bavarian TV in 1996 and has shot
many documentaries in Germany and around the world
in Asia, Africa, and North America utilizing all common
production formats. In 2002, Hans Fischer was appointed
chief cameraman at Bavarian TV, and as such is responsible
for the technical and artistic achievements of all the
company's camera teams.
C a m e r a
Origo. On August 28 th , we left the old
mining estate of Longyearbyen and
traveled northward up the west coast of
Spitsbergen – our adventure had begun!
2 5

2 6 C a m e r a
At first it was important to feel, sense and
get acquainted with this landscape that I
had never seen before. As I did so, I repeatedly
wondered if it was in fact the
right decision to take this technical equipment
into the far north – into this white
emptiness! Our ship passed a barren,
fjord-dominated landscape, littered with
glacier tongues. The bow appeared almost
to carve the water that lay beneath
and in front of us - water that seemed
likely to freeze to ice at any moment, given
the perilously low temperatures. Daniel
unpacked the D-21 and photographed the
first test shots, using the ship’s electrical
network for a power supply. The SRW-1
was well packed in a polystyrene-insulated
aluminum box, to guarantee utmost
protection against all kinds of weather
conditions.
We mounted the D-21 to the bow of the
ship - not an easy job, I had to admit.
Maneuvering the weight of the camera
and Master Zoom across the wet steel
deck of the swaying ship all by myself
was a real challenge. Once mounted,
the weight of the camera combined with
the widely-spread tripod legs resulted in
a balancing effect with regard to the
ship’s vibrations – vibrations we could
not have anticipated. The first images
followed.
The adventures of the following days far
exceeded our imaginations and our
wildest dreams. The ship was groping its
way north and leaving the 81st parallel
behind; a distance of less than 1,000km
now separated us from the North Pole –
1,000km of fog, snow and ice! We observed
atmospheric lighting displays of
incredible intensity - compositions of light
that made us forget time and space. But
we also witnessed an incident that, most
likely, has not been documented in such
a way before – cannibalism among
polar bears.
On a huge ice floe, we discovered an
adult, male polar bear that had just
killed another animal of the same species
and was starting to devour it – a tragic
sight that demonstrated the hopelessness
of the polar bears and the shortage of
their food. It was exactly what we were
there to document.
The captain rammed the ship through ice
almost a meter thick and managed to get
us within 200m of the cadaver. The killer
polar bear escaped to a safe distance
and observed us while we, in turn, did
the same! In the meantime, a white fox
and the very rarely seen ivory seagull
were busy with the cadaver. At daybreak,
the starving polar bear returned
and we successfully captured incredible
images.
Further south we found a dead finback
in a fjord – for polar bears, the equivalent
of a well-stocked fridge! There, we met
colleagues from the BBC who were visiting
this spot to document the dead finback.
Our BBC colleagues were more than a
little astonished to see a D-21 in use up
there in the far north. After ten surreal
days in the Arctic we returned to our own
world, with images and impressions we
had never expected.

(f.l.t.r.) Kai Schubert, Hans Fischer, Daniel Delbeck
It was an experiment, moreover a successful
one. Our expectations were surpassed
by far – not only due to the unique experiences,
but also due to the perfect
functioning of the technical equipment,
even under the most hostile conditions.
The camera never failed or refused to
work, despite temperatures that varied
between lower plus degrees and minus
18 degrees, let alone the dampness and
vibrations aboard ship! The optical viewing
system was an invaluable advantage.
To film a documentary with this technology
and under these extreme conditions was
daring and risky. However, we are more
than pleased with the results and would not
hesitate to set out on a similar adventure
again.
Hans Fischer

2 8 C a m e r a
The Sydney Dance Company promo
B E TRANSFO RM ED was the first
TV commercial shot with the
ARRIFLEX D-21 in Australia and
also the first time using the innovative
Mscope mode of the camera.
Sydney Dance Company
When creative agency Area 51 was commissioned
to produce a promotional television
commercial for the Sydney Dance
Company (SDC) as part of FOXTEL’s principal
sponsorship of the SDC, their brief from the
artistic director Rafael Bonachela was to
create ‘visual art’. Photoplay Films Director
Husein Alicajic workshopped a number of
ideas and finally settled on the premise of
transformation. In the spot, a lone dancer
slowly evolves into many, and the dancers’
costumes progress from bare flesh to urban
black attire. According to Alicajic, “I wanted
to convey an arc that investigated the idea
of foetal-like progression.”
The dancers’ organic human form was set
against the stark and geometric minimalism
of the Deutsche Bank building in Sydney’s
CBD. As a corporate sponsor of the SDC,
Deutsche Bank allowed the production to film
on several floors of their modern high rise
facility – a privilege never before afforded to
other filmmakers. Alicajic adds, “I think that
the setting of this piece was very important
to the message that was to be conveyed. The
juxtaposition of the soft human form against
the clinical modernity of the architecture was
something that I wanted to explore. In a way,
the dancers’ journey takes them from the top
of the structure and delivers them down to
the earth where they become more adult
and complete.”
As soon as cinematographer Tony Luu ACS
was brought on board, he knew that this
vision could only be captured in widescreen
ratio. “I was presented with a lot of photographs
of the building’s spaces, which
contained minimalist greys and glass, punctuated
with an exposed steel spine that runs
all the way down the centre of the building,”
says Luu. “There were very graphic lines
throughout the structure, so the camera
needed to present that in a very formal,
designed way. I’d worked a lot with anamorphic
lenses, and I love the softness and
texture that they illustrate. Also the shallow
depth of field is incredible. So when I offered
the idea of shooting anamorphic to Husein
he leapt at the opportunity to try it.”
Luu was left with a number of camera options
to shoot the spot with: 35mm film, Red one,
or the newly arrived ARRIFLEX D-21. “I had
just completed shooting with the D-21 on a
short film called CREATING FORTUNE, where I
was completely blown away by the filmic
quality of this new digital camera. It just
doesn’t look like any other digital motion
picture camera that I’ve worked with. Red
anamorphic doesn’t give you the whole
width of the lens, and the producers felt that
film was a little out of reach. So it was an
easy decision.”
The camera was supplied by Cinoptix, who
had only recently taken delivery of the
camera from ARRI Australia. The D-21 uses a
3K S35mm sensor allowing for recording in
a number of formats to a number of devices.
Takao Hasuike from Cinoptix comments, “The
D-21 can record in 3K ARRIRAW to a solid
state or hard drive recorder like the Keisoku
Giken and S.Two, or in HD in either 4:4:4 or
4:2:2. In the case of this project, it records
in HD to Sony SRW-1 HDCAM SR tape
recorder in 4:2:2 dual stream using the
Mscope anamorphic mode.”
Because the camera has a full-height sensor,
rather than a 16:9 chip, it allows for the use
of anamorphic lenses in the same way as
with 35mm film. The camera also has a
feature that allows filmmakers to squeeze
this anamorphic image into a HD dual
stream, for recording to the Sony SRW-1
deck. ARRI calls this process ‘Mscope’. Tony
comments, “Mscope is an ingenious way to
shoot anamorphic on video tape, because
it allows you to retain as much resolution as
possible through a natively 16:9 recording
format. It splits the 1920x1440 image into
DoP Tony Luu ACS shooting a dramatic
wide angle shot from the crane.

Transforms
two streams of 1920x1080 (720 effective)
video, one stream containing the even lines
and the other the odd lines that can simultaneously
recorded on the one Sony SRW-1
deck. The two streams need to be recombined
by interleaving the stream A and
stream B fields to create what is effectively
a 1920x1440 anamorphic image that can
then be cropped and unsqueezed to a
3456x1440 digital file for digital cinema.
Mscope also allows you to monitor one of
the streams on set in HD resolution in the
correct aspect ratio on any HD monitor.”
The post production for the commercial was
facilitated by Engine, where only one stream
of the footage was used for offline editorial.
Once picture lock was established, both
streams of selected takes were ingested to
Flame, where they were combined and ultimately
resized to 1920x1080 with letterboxing.
“I think that the results are fantastic, but in
reality, for TVC production even using just
one of the streams would still deliver great
results,” says Luu.
DoP Tony Luu ACS, Director Husein
Alicajic, Sydney Dance Company
Artistic Director Rafael Bonachela (f.l.t.r)
True Anamorphic and beyond HD
Another feature of the D-21 used by the
cameraman was its ability to record Cineon
Log gamma and colour space in extended
range to tape. “Shooting in Log C means
that you can pull so much detail out of the
image during the grade, you can read far
in to the highlights and into the shadows,
and where there is clipping, the rolloff in
Log C is quite filmic,” states Luu. “That is
quite a relief when having to work with a
digital camera.” The camera allowed the
cinematographer to monitor both the Log C
and a de-logged 200EI equivalent LUT
monitoring output, which was fed to Alicajic
and Bonachela’s monitors.
In one scene of the commercial, three
dancers stand together in a tight line, so
that the viewer only sees the first. Slowly,
arms and legs appear behind the first body,
commencing the transformation that signifies
the spot’s theme. Black perspex forms a
runway through the bottom of frame that
reflects the dancers’ images, and the only
interior lighting comes from ten bare kino flo
tubes laid on the ground around the borders
of the room. The shot was photographed in
a meeting room of the 18th floor of the
building, looking straight out to a moody
grey sky. Luu used only NDs for this scene,
choosing to photograph without colour
correction filtration to the tungsten camera,
lending the image a cool hue. “I love shooting
without an 85, it gives an amazingly
clean skin tone and washes the picture with
a modern, clinical tone that Husein was
after,” says Luu. “There is so much contrast
in the scene, we thought when we photo-
graphed this that we’d silhouette the dancers
against the blown sky, but in post, there was
actually so much detail that it was better to
leave the shadows and highlights in the
picture.”
The cameraman also favoured lighting the
dancers with practical lighting balloons
supplied by Panalux. The 1.6m diameter
balls are air-filled by an onboard fan, and
contain 6 x 400w halogen striplights than
can be run through a dimmer. An atrium
that runs through the high rise building gave
the cinematographer a line of sight to see
dancers who were set across two floors from
across the building. “The ambience from
the sky gave a wonderful blue glow inside
the structure, which was offset by the warm
soft light emanating from the balloons. The
balloons were part of the organic, human
world where round edges repel the intrusive
square lines of the surrounds,” says Luu. The
shot was captured from inside a glasswalled
elevator, as it rapidly descends.
“It was a fantastic opportunity to shoot
incredible dancers in an incredible location
with an incredible camera – the experience
was… incredible,” adds Luu.
To watch the spot go to
www.photoplayfilms.com.au
C a m e r a
Tony received a Gold Award at the
Queensland and Northern Territory
Awards for Cinematography for his work
on the Sydney Dance Company commercial.
Catherine Hjelm
2 9
photos by Daniel Boud

3 0
C a m e r a
(f.l.t.r.) Penne Thornton (Camera Prep), Malcolm Richards
(Proprietor), Gerry Liedtke (Service Technician), Dominic
Jaeger (Service Technician), Dale Woodrow (Rentals
Manager - Melbourne)
ARRIFLEX D-21 in Australia
Australia’s ARRI Rental Partner
adds the D-21 to it’s fleet
Malcolm Richards was still a working cinematographer
when he founded CAMERAQUIP
back in 1982, and quite understandably his
technical standards were equally high, when
he planned to make the latest motion picture
cameras and equipment available to local productions.
Operating it's rental and service
facility in Melbourne now for 27 years, in
Brisbane for 15 years, in Adelaide for 12 years
and also for 21 years in Singapore, CAMERA-
QUIP strongly counts on highly skilled technical
staff – trained in camera and lens maintenance
– and a fully equipped service department
that has many advanced optical and camera
test instruments. With a large inventory of
35mm and 16mm ARRI cameras, Zeiss, Cooke,
Angenieux and a multitude of other special
lenses and accessories it was a logical step
to add the ARRIFLEX D-21 in 2009.
Providing equipment and cameras for over a
hundred feature films, the same amount of TV
series and countless TV commercials in Australia
CAMERAQUIP always was working
together with major studios. They supplied
not only Oscar winning local productions
like S H I N E by Scott Hicks, Rolf de Heer’s
TEN CHANCES and several films by Paul Cox
but also supported ARRI RENTALS with productions
like THE PACIFIC produced by Steven
Spielberg and Tom Hanks, Mikael Salomon’s
SALEMS LOT and ANACONDAS (2004) filmed
in Fiji. CAMERAQUIP also supported the
recent productions of T H E BA N K J O B and
THE LOST WEEKEND shot on ARRIFLEX D-20,
gaining valuable experience for their latest
camera additions.
Weblink: www.cameraquip.com.au
DoP Carl Robertson ACS (left) and
Aquiles Sande during the test of the
data mode of the D-21 and the
Keisoku Giken UDR-D100 data
recorder at ARRI Australia
(f.l.t.r.) Stefan Sedlmeier, ARRI Australia, with Aquiles
Sande and Takao Hasuike from Cinoptix
Cinoptix, the film equipment rental house
based in Sydney, acquired the first D-21
on the red continent from ARRI Australia.
Aquiles Sande of Cinoptix says: “Considering
other high-end digital cameras we
finally decided for the D-21. Its film-like
image, the quality of ARRI products and
their unsurpassable experience convinced
us. Working more than 20 years in the
industry, you develop a pretty good feeling
on what is truly essential.” The D-21 is
being teamed up with a set of ARRI/Zeiss
Master Primes that includes the recently
acquired 21mm and 65mm Master Primes.
Recent productions using the D-21 include
the award-winning TV commercial for the
Sydney Dance Company, BE TRANSFORMED,
Selected productions shot using the ARRIFLEX D-21:
shot with the D-21 in Mscope mode. “We
were very excited about this project, not
only because it was the first TV commercial
shot with the D-21 in Australia, but also
because it was the first time we were using
the Mscope mode,” comments Takao
Hasuike of Cinoptix. Other productions
range from short films, including one
filmed by AFTRS, the leading Australian
film school, to several TV commercials and
music clips.
The productions used the Sony SRW-1
HDCAM SR recorder, but Cinoptix also
had an opportunity to test the new Keisoku
Giken UDR-D100 data recorder, working
with Australian top postproduction houses
to implement the ARRIRAW workflow.
Footage of this test was also made available
to companies such as FilmLight,
Autodesk, da Vinci and Pomfort. Australian
cinematographer, Carl Robertson ACS,
did the photography for the test, which took
place at the premises of ARRI Australia in
Sydney.
Madeleine Davis
Weblink: www.cinoptix.com.au
Production Title Director DoP
Creating Fortune David Barker Tony Luu ACS
Lonely Matty Limpus Chris Miles
Sydney Dance Company “Be transformed” Husein Alicajic Tony Luu ACS
Domino’s Pizza Luke Eve Carl Robertson ACS
Cassette Kids “Lying around” Pierre Toussaint Stefan Duscio
Denim and Thread Alex Weltinger Sidat de Silva
Next Generation Foxtel “Movies” Darren Ralph Tony Luu ACS
Next Generation Foxtel “New Channels” Darren Ralph Tony Luu ACS
Next Generation Foxtel “HD” Darren Ralph Tony Luu ACS
Foxtel “Help Channel” Susan Burchill Simon Higgins
Next Generation Foxtel “Download” Darren Ralph Simon Higgins
Myer Liz Murphy Tony Luu ACS
Pepsi Hit Refresh Johan Polhem Hugh Miller
Spirited Tasha Mahalm Simon Chapman
Biggest Loser Club Rene Hernandez Simon Chapman
KFC Matt Kamen Dugal Campbell
Pizza Hut Matt Kamen Danny Pope

ASWAR EL AMAR (MOON WALL) is among the titles currently creating the
strongest buzz in the Egyptian film community – not only because director
Tarek Alarian is one of the most renowned action movie specialists, but also
because the show is filmed on the ARRIFLEX D-21 in ARRIRAW mode.
Alarian was very keen to use the D-21 for his
new action movie and strongly believed in
the outstanding quality and creative freedom
an ARRIRAW workflow would provide. CHP
Productions (with Alarian acting as its CEO)
consequently decided to buy a D-21 and to
implement the entire ARRIRAW workflow. But
very few could have foreseen the enthusiasm
this new technology would generate in Egypt,
or the fact that it would drastically change
the industry. Egyptian cinema has a long and
proud history, and greatly influences the
whole Arab world. Tarek Alarian has once
again contributed to this history – not only
Omar Abou-Zeid
CPH Executive Producer
“Working with the ARRIFLEX D-21 was an excellent
experience and the smoothest introduction you
could get to digital cinema. We had to adapt
our workflow, but with the support of the ARRI
Digital Workflow Solutions team, the whole
system offers maximum freedom. My clients soon
started to be convinced, as they realized that this
truly is the future, especially due to the unique
image quality and the very wide dynamic range
offered by the D-21.”
Weblink: www.tarekalarian.com
MOON WALL
Director Tarek Alarian shooting with the D-21 in ARRIRAW
with a new film project but also by developing
new industry standards. Antonio Cazzaniga
of ARRI Italia spoke with the groundbreaking
director.
Antonio Cazzaniga: How are you feeling
after the first weeks of production?
Tarek Alarian: I’m really enjoying the
experience of working with the D-21 on my
current feature, especially as I like the idea
of shooting everything I need without worrying
about film stock – this can be essential
when you are aiming to make a high class,
action-based movie.
…was born in Kuwait in 1963. He graduated in
cinema and photography from the University of
Southern Illinois, where he also gained his bachelor’s
degree in arts and communication. In 1986
he began a fast-paced career as an executive
producer in Greece, moving on to Egypt in 1989
as he prepared his first feature film, THE EMPEROR.
This turned out to be a massive success and was
screened in Egyptian cinemas for a record-breaking
26 weeks.
EL PASHA followed on from that success and again
starred Ahmed Zaki, who had established himself
as one of the top stars of Arab cinema after THE
EMPEROR. Then Tarek Alarian took a break from
cinema, beginning a successful career in music
videos and commercials during which he worked
with leading singers and artists of the Arab world.
In 1999 he founded his first feature film production
company and is now partner and CEO of CPH
Productions, which specializes in music videos,
TV commercials, TV programs and feature film
C a m e r a 31
AC: It sounds like you’ve taken an uncompromising
approach to the final image
quality?
TA: The D-21 delivers outstanding images
with a unique and truly cinematic look and
feel. In addition to working much faster then
with a 35mm film camera, I am able to get
exactly what I have envisioned.
AC: So you are fully satisfied with your
camera purchase?
TA: Actually not really… I need a second
D-21 as soon as possible! I like to work in
this style and I am planning to order another
camera soon.
productions. The company also has a rental
department with a comprehensive inventory that
now includes an ARRIFLEX D-21.
With his third film, SNAKES AND LADDERS (2001),
Alarian made a strong return to cinema. This was
not only a commercial success, but also highly
praised by critics.
The 2004 production of T I TO became one of the
greatest challenges of his career, as it was one
of the highest budget productions in Egypt and
among the best action movies in Egyptian movie
history.

3 2 C a m e r a
Behind the magic mirror
Terry Gilliam Nicola Pecorini
Nicola Pecorini discusses his work on THE Im AgINARIUm oF DoCToR PARNASSUS
THE IMAGINARIUM OF DOCTOR PARNASSUS
was shot in 4-perforation 35mm with ARRICAM
Lite cameras and ARRI Ultra Prime lenses
by cinematographer Nicola Pecorini. Equipment
for the London shoot was supplied by
Technovision Rome, with additional equipment
and support from Denny Clairmont for the
Vancouver shoot.
The film is about two very different worlds –
modern day London and inside the Imaginarium;
was that a challenge?
Nicola Pecorini: Yes – it was like two
different movies. In fact it was like three
movies because at the end we had a fourweek
stint shooting models at Bray Studios.
We had completely opposite approaches
to each; in London it was night and we had
neither the budget nor the desire to relight
all of London, so I had to rely on the public
lighting and adapt to that. In the Imaginarium
it was a case of forming the basis of images
Director Terry Gilliam’s latest feature is a characteristically offbeat kaleidoscope
of fantastical imagery and eccentric characters. It tells the story of Doctor
Parnassus, a 1000-year-old monk whose dealings with the devil have made him
immortal, though his archaic travelling theatre goes almost unnoticed by the
modern world. The centrepiece of his theatre is the Imaginarium, a magic mirror
that transports unsuspecting audience members into a world that mingles their
imaginings with those of Doctor Parnassus. The film looked like it might run
aground when star Heath Ledger tragically died part way though production,
until Johnny Depp, Colin Farrell and Jude Law stepped in to fill his shoes.
that would be completed later with a mixture
of CGI and models. We used models because
Terry loves mixing mediums and he knew
exactly what he wanted, but also because
it was actually cheaper.
You were shooting with ARRICAMs, is that
right?
NP: We had two ARRICAM Lites as the main
cameras. If a Lite is well maintained it’s a
very, very quiet camera and we never had
any problems with sound. We occasionally
had a 535B as a third camera and also a
35BL-III, which belongs to Terry and which
we always have with us. He got it around
the time of TIME BANDITS [1981]
What was Terry’s ARRIFLEX 35BL-III used for?
NP: It’s always useful to have another
camera on the set. Within my crew I try to
let one of the focus pullers operate a camera
and one of the 2nd ACs pull focus on that
camera. Normally they don’t get an opportunity
to practice so I like doing that and as
long as there’s a video assist you can see
what they’re doing. During preproduction
we actually considered making the movie
just with the BL; I think it’s the most brilliant
camera ever made – it’s simple and it’s a
workhorse.
Were formats other than 35 mm considered?
NP: Yes – we did consider digital. My own
feeling about digital is that it is very far from
reaching the quality and richness of film stock.
There are technical reasons for that, and
also subliminal reasons, but we didn’t want
to be snobbish about film so I did tests with
various digital cameras. The only one that
got close to being satisfactory was the
ARRIFLEX D-21, but the most interesting thing
is that we made accurate comparative budgets
– not just for shooting but all the way
down the line through postproduction – and
photos: Alan Merkel

photo Dean Morin
it turned out that digital was going to be more
expensive for us than film.
Were you generally shooting single camera
setups, or were you often on two cameras?
NP: For the London shoot we always shot
with two cameras, if not three, although we
never compromised the first camera. That
could be frustrating for the B- and C-cameras
because for about 90% of the time in London
the A-camera was using a 14mm and was
about a foot away from the actors. The other
cameras would have to use extremely long
lenses by Terry’s standards – a 32mm or
40mm – and steal little moments when they
could. On the visual effects portion of the
shoot we mainly used a single camera
because each shot had been budgeted for,
although we often had two stages going at
the same time in order to accommodate the
schedules of the guys who came in [to
replace Heath Ledger].
When Heath died it must have seemed
impossible that you could go on.
NP: First and foremost Heath was a really
close, dear friend and it was a big blow. I
was on DON QUIXOTE and I couldn’t stand
the idea of yet another of Terry’s movies
going down the drain, especially when in
my opinion we had a great movie in the
can up to that point. Within the grief of the
moment, my first thought was that we can’t
let the movie die as well because Heath was
really in love with the whole project and it
would have betrayed his memory to let it
drop that easily.
Where you having to shoot wide open on
the London night shoots?
NP: There were certainly situations where
we had to shoot wide open, but I relied a
lot on the Kodak stock. I knew the Vision2
5218 pretty well, but the [Vision3] 5219
came out just as we started preproduction,
C a m e r a
so I got a few rolls. We tested it and it is
superior – not in terms of [dynamic] range
but in how clean it is – although we wanted
London to look really gritty so I used the
5218 for London and the 5219 for all the
stage work in Vancouver. I never put any
filters in front of the lens; I love the Zeiss
lenses and the way they capture everything,
and the more texture you have, the more
you can do in the DI afterwards.
You also had the Ultra Prime 8R; what did
you use that for?
NP: There are many shots made with the 8R
in the movie. We used it inside the [theatre]
wagon because the wagon was so small;
we also used it for stage work – for live
action elements that we knew were going
to be framed in a very wide shot in our
models. It’s fantastic, the work they’ve done
on that lens; I’m in love with it.
Mark Hope-Jones
3 3

3 4 C a m e r a
A scene from RED RI DING
How ARRI’s Unique 35mm Format Can Slash TV Production Budgets
making a Drama out of 2-Perforation
The ARRI 2-perforation format offers budget-conscious productions an
econom ical route to the image quality of 35 mm. As film is advanced by
2 per forations instead of the traditional 4, previously unused space
between frames is eliminated and so both film stock and film processing
costs are approximately halved. Although 2-perforation offers obvious
benefits as a widescreen format for feature films, many producers are now
taking advantage of its cost savings and image quality to bring exceptional
production value to television dramas. ARRI News spoke to two cinematog-
raphers who have recently used 2-perforation to create visually compelling
work for the small screen.
Adam Suschitzky and the crew during
the shooting of EM MA
Adam Suschitzky (without shades) and
his crew on a set of EM MA
ADAm SUSCHITZky
DoP of the British 2-perforation mini-series
E M M A (2009), a four-part period drama
for the BBC.
How was 2-perforation chosen as an
acquisition format for a 16:9 broadcast?
Adam Suschitzky: The producers were certain
that they wanted to shoot on 35 mm film,
but they knew they didn’t have the budget
to shoot 3-perforation and the technical requirements
meant that unfortunately 16 mm
was not a viable alternative. There was some
heavy snowfall about a year ago – before
I came on board – and the producers took
the opportunity to send out a 2-perforation
camera for a snow sequence in the script.
That was the first thing they got back and
they were absolutely amazed by
the quality.
Did you test the format yourself
before the shoot?
AS: I did. There were some HD
quality control guidelines in
place stipulating that we could
only shoot a quarter of the pro-
Paddy Considine starring
in RED RI DING
duction on 500 ASA stock. I went away and
shot tests on all the different stocks and the
500 ASA passed every single test; the technical
department couldn’t believe their eyes
at how good it was, even with the zoom in
to a 16:9 frame, so at the start of the production
they revised their figures and I think
in the end there was no restriction at all on
the stock. All credit to the BBC for recognising
the results and letting us go ahead with
it.
And did the tests make you happy as well?
AS: I was delighted that we could keep
EMMA on film and it’s such an insignificant
loss of quality; you still have the depth, the
tonality, the highlights, the colour range and
the subtlety of 35mm, as well as the cameras,
accessories and lens ranges. The real
beauty for our production was that it was a
character piece with long dialogue scenes
that could last for several days of the shoot.
2-perforation is an ideal format for that because
you get 21 minutes from a 1000-foot
mag. It saves time, it saves money and you
don’t have to interrupt performances.
You used ARRICAM cameras; did you
have the Lite as well as the Studio?
AS: Yes – we had a Studio as the main
camera and a Lite as our B-camera, and we
did lots of Steadicam with it. Again, many
of the Steadicam shots were very long, so
getting eight minutes from a 400-foot mag
became an extremely practical tool.

What postproduction route was taken and
how were dailies handled?
AS: We had it all scanned with a techgrade;
after that everything was in the digital
domain, although we would go back to
the neg for any particular shots where we
felt that the tech-grade had not got the best
from the neg. We worked to a fairly standard
television setup, with a Grade-1 CRT
monitor. I assume the workflow was very
economical – it was certainly quick, efficient
and got the full quality of the neg. The dailies
were dealt with by Ascent Media and
they would do a one-light, though I was
taking stills of every setup, grading them
and sending them to the lab as references.
In general is 2-perforation a format you’d
recommend to others or use again
yourself?
AS: I had people telling me that it would
be disastrous and that if we couldn’t afford
3-perforation I should be on a digital format,
and how wrong they were – it just performed
flawlessly. I think 2-perforation is
an absolutely ideal format for TV – it’s fast,
economical and has all the quality of the
best film format around. I’d use it again tomorrow.
IgoR mARTINoVIC
DoP of the British 2-perforation production
R E D RI D I N G: 198 0 (2009), the middle film
of a three-part drama serial for Channel 4.
RED RIDING is a trilogy of films, each of
which was shot in a different format. Why
was that and how did you come to use
2-perforation for the middle film?
Igor Martinovic: Even though the project
started out as a TV series, our approach was
to shoot it as a feature film. We wanted to
achieve a stylised look that would be reminiscent
of thrillers from the 1970s. The producer,
Andrew Eaton, was fantastic because
he let the directors and DoPs of all three
films decide what format they wanted to use.
Widescreen was our format of choice from
the beginning and 2-perforation fit perfectly
because our budget was relatively low and
we knew that 35 mm would look better than
the Red, which was the other choice. We
also didn’t want to go anamorphic because
we needed to use less stock and we wanted
lightweight equipment.
Was the film transmitted in 2.35:1 on
television?
IM: It was transmitted in widescreen and
we knew that the 2.35:1 frame was safe
even when we were filming, so we could
use the edges of the frame in our compositions.
I was pleasantly surprised by how
much freedom one can get as a DoP in the
English television system. The interesting
thing is that because each episode was
made as a film, the series went on to have
a life in film festivals and is actually playing
in cinemas in the U.S. right now.
Was this the first time you had shot
2-perforation and did you make tests?
IM: This was the first time. I was very happy
to find that ARRI Media in London had
numerous 2-perforation cameras and their
support was first class. We filmed tests and
projected them because the format was
new for everyone involved, including the
post house. In some ways 2-perforation is
a bridge between 16mm and 35mm, and
we wanted to see how far we could push
the film into underexposure. We were happy
to have a bit of grain because of the
subject matter and because we were mixing
in some grainy archive footage from
the 1980s.
C a m e r a
Igor Martinovic at the eyepiece
What cameras and lenses did you have?
IM: We had only one body – an ARRICAM
Lite – and we used ARRI Master Primes. Often
we had to shoot wide open on the Master
Primes because the combination of the budget
and the schedule meant that we weren’t
able to have huge lighting setups for the
night exteriors. Shooting wide open really
helped because we needed every last stop.
Did the longer takes possible with
2-perforation ever prove useful?
IM: We never had a scene with a really
long take, but psychologically it makes a
big difference for the actors to be able to
shoot continuously for long periods of time.
Some times I would hear an actor say ‘Why
haven’t they changed that mag?’ because
they’re used to mags being changed all the
time! In dialogue scenes especially it really
allows the actors to do one take after another,
so their concentration doesn’t get
broken.
What postproduction route was taken and
how did you get dailies?
IM: We were seeing Beta SP dailies on the
set, which were done at a lab up in Leeds,
where we were shooting. When we went
down to London the rushes were scanned
in 2K at LipSync Post and we graded on a
big screen in a DI suite.
Looking back, was 2-perforation a format
that suited a project that has crossed over
from television to theatrical release?
IM: Absolutely – I was very happy with the
outcome and it was nice to see the film projected
on the big screen as well. 2-perforation
worked perfectly for both mediums.
Mark Hope-Jones
3 5

3 6 C a m e r a
The HD-IVS for the ARRICAM Lite
HD-IVS
JoHN CHRISTIAN RoSENLUND
Tell us about yourself as a cinemato grapher.
John Christian Rosenlund: I don’t like to say
that I have any particular speciality; stories
that attract me can be anything from two
men in a row-boat to big historical dramas.
I like anything that comes from the heart.
My goal for any new film project is to find
the unique voice of that particular story and
build the technical needs around it, creating
the maximum artistic space and freedom
within technical
and budget
limitations.
The ARRI HD-IVS uses innovative digital technology to create 1920 × 1080 high
definition, wide dynamic range video assist images for the ARRICAM and
ARRIFLEX 435 film cameras. With such significantly increased performance,
the HD-IVS facilitates better judgment of focus and more visible detail, espe-
cially in shadow and highlight areas. Excellent color reproduction and low
noise are combined with ARRI's unique Ground Glass Cancelation (GGC)
technology to create beautiful, high resolution preview images.
This clearly demonstrates ARRI’s continued development for film cameras:
With a comparatively small update, existing equipment easily fits into the most
advanced workflows offering decisive advantages of a hybrid imaging world.
What kind of production did you use the
HD-IVS on?
JCR: It was a feature film called H O M E FO R
C H R I S TM A S, which was produced, written
and directed by Bent Hamer. Bent is well
known to international audiences; his previous
films include KITCHEN STORIES [2003],
FACTOTUM [2005] and O’HORTEN [2007].
The story takes place in a small Nordic town:
it is a cold, snowy night, just a few hours
before the Christmas Eve celebrations and
we follow five different stories that cross
each other, one way or another.
We had ARRICAMs: one Lite and one Studio,
and we were shooting wide open with ARRI
Master Primes. The stock was Kodak Vision3
500T.
Because the film was all night scenes – and
because I do not like to create the typical
CASE STUDIES
Hollywood blue moonlight – there were some
difficult lighting conditions. It was especially
hard on my focus puller, Ingeborg Klyve, but
she is among the very best and did a fantastic
job in the dark.
What are the key advantages of the new
HD-IVS?
JCR: When I first heard about the HD-IVS
at IBC I pushed hard to get it on board this
show. Film is for me the most advanced and
optimized format when it comes to shooting
a feature film; there are still no digital cameras
that can match the contrast ratio, color
depth, resolution and technical stability that
35mm film can offer. However, the low resolution
video assist units on film cameras very
often suck. After all, nowadays even YouTube
is HD.
When directors see the monitor image from
an HD video camera they love it because
they see a sharp image; they see the actors’
expressions and details in the scene that
they have not seen before. This kind of experience
can be one more silly argument to
shoot digital; it is therefore very important
that film can also offer a monitor image
that gives the director the ‘HD eye’. Our film
took place entirely at night. The sharp HD
picture from the HD-IVS gave us a better
possibility to judge the picture both artistically
and technically, especially in situations
when I had to rely on the video assist alone,
for example when we used a remote head.

photo: Ingeborg Klyve
John Christian Rosenlund shooting a scene for HOME FO R CH RISTMAS
Weblink: www.arri.de/camera/
professional_camera_accessories/
electronic_accessories/hd_ivs.html
What did you do with the HD images?
JCR: The brain behind the setting up and
use of the HD-IVS was my camera assistant,
Ola Austad. Besides being a very good
CA, he is excellent with computers, which
does help. Everything recorded was saved
as QuickTime files and imported into [script
supervisor] Aslaug Konradsdottir’s laptop,
so she always had every scene available
as a QuickTime. We used the HD-IVS together
with the AJA Ki Pro [a portable ProRes
file recorder]. A pre-adjusted sound channel
wirelessly transmitted to the Ki Pro, which
handled the sync delay from the HD-IVS in
an easy way.
NIC SADLER
Tell us about yourself as a cinemato grapher.
Nic Sadler: I studied film at Curtin Univer sity
in Perth and then moved to London to work
as a camera assistant, most notably for John
Mathieson BSC. Later I began working as
a cinematographer, shooting music videos
and concerts for artists including Nick Cave
and REM, as well as short films and hundreds
of commercials. Five years ago I moved from
London to LA and currently work shooting
commercials and movies. I am also a partner
in a company that develops iPhone applications
for the film industry, called Chemical
Wedding.
What kind of production did you use the
HD-IVS on?
NS: We were shooting a commercial in New
York with a company called Nydrle. The director
was the LA-based Peter Nydrle and the
producer was Jan Scott. We shot with the
ARRICAM Studio using only the ARRI Master
Zoom, with no filtration on Kodak Vision2 200T
stock. The whole project was shot against
green – the live action foregrounds being
composited into backgrounds created in
postproduction. We had a pre-visualization
to work toward and everything was shot at
24 fps, other than one insert shot at 60 fps.
What are the key advantages?
NS: Video assist image quality is crucial when
shooting for special effects, especially with
greenscreen. It is possible to do on-set chroma
keying to help place actors in environments
created by the effects house. Before, video
assist systems did not have sufficient image
quality to allow a good assessment of how
foreground and background elements sit
together; the new HD-IVS is a drastic improvement
in this respect.
Clients are becoming used to seeing a high
quality image now that shooting on HD has
become more prevalent. Having the HD-IVS
allows me to continue shooting on film and
also keep agency and client people happy.
I was very impressed with the HD-IVS and
it performed perfectly during the shoot. It
was less trouble to use that a normal IVS;
Nic Sadler shooting the Nydrle commercial
mIkAEL SALomoN
“I'm really enjoying the
HD tap. Hard to ima-
gine shooting film now
without it.”
Director Mikael Salomon
currently shooting
THE LOST FUTURE
C a m e r a
the image quality was superb and I will be
recommending it on all future projects.
What did you do with the HD images?
NS: We used the HD-IVS GGC [Ground
Glass Cancellation] function to reduce
ground glass texture, which was fantastic.
The picture quality was already excellent,
but the GGC added a huge improvement to
the image. Our video assist operator was
using 14" Panasonic HD monitors and had
an AJA recording unit that allows the HD
image to be recorded in ProRes 422. Though
we didn't have the facility on this shoot, these
files can then be transferred directly into
Final Cut Pro. Having editing facilities on set
is fast becoming standard; this new HD-IVS
fit right in with that trend, keeping film a valid
choice in situations where on-set editing and
pre-viz is a prerequisite.
3 7

3 8 C a m e r a
ARRI/FUJINoN Alura
The Next generation of Zooms
ARRI and FUJINON have joined their
extensive expertise to create a completely
new family of modern cine zooms.
Using the latest in optical design technology
and innovative manufacturing
techniques, the ARRI/FUJINON Alura
Zooms combine the highest optical
performance with an amazingly small
size, weight and price.
Experience has shown that for most productions,
two types of complementary zooms are needed:
a wide and a long zoom. The wide Alura
Zoom 18-80 and the long Alura Zoom 45-250
are a set of matched PL mount cine zooms that
have been optimized for digital cameras and
will work as well for film cameras. While they
exhibit excellent optical performance, their
size and weight has been kept practical,
allowing crews to work fast on the set. The
Alura Zooms combine the utmost in optical
quality with speedy production efficiency.
Both lenses share a maximum open aperture
of T2.6. Great care has been taken during the
design phase to ensure that the T-stop remains
truly consistent over the whole zoom range,
avoiding the common decrease in light level
across the zoom range (zoom ramping) of
other zoom lenses. This is especially useful
when the Alura Zooms are used on digital
cameras, where a drop in light levels becomes
quickly visible.
Both Alura Zooms exhibit high contrast and
high resolution for sharp, punchy images.
While the special optical design ensures an
evenly illuminated image on the sensor or film
plane, internal reflections like flares and veiling
glare have been greatly reduced through
the use of FUJINON’s multi-layer EBC (Electron
Beam Coating) lens coating. This ensures
maximum light transmission and a high
contrast image with clear highlights and
true, deep blacks. Color fringing is minimized
through the use of extraordinary
dispersion glass. Breathing (an unwanted
change in image size when focusing) has
been greatly reduced especially at the wide
end, where it is most noticeable and annoying.
Nine iris leaves provide round, out-offocus
highlights and a pleasing, organic
bokeh.
Order Numbers
ARRI/FUJINON Alura Zoom 18-80/T2.6,
with meter scales K2.47930.0
ARRI/FUJINON Alura Zoom 18-80/T2.6,
with feet scales K2.47931.0
ARRI/FUJINON Alura Zoom 45-250/T2.6,
with meter scales K2.47932.0
ARRI/FUJINON Alura Zoom 45-250/T2.6,
with feet scales K2.47933.0
FUJINON Zoom Extender 1.4x K2.47926.0
FUJINON Zoom Extender 2x K2.47927.0
Another priority during the development
phase was achieving a consistent optical
quality. While it is easy to create a lens
with good performance at some combinations
of focus setting and focal length, the
Alura Zooms show a high level of consistency
of contrast, resolution and field illumination
across the whole focus and zoom range,
which demands a true mastery of optical
design.
The Alura Zooms are part of a carefully assembled
production system. Their compatibility
with ARRI digital and film cameras as
well as ARRI accessories has been assured

M A I N F E A T U R E S
• Matched Wide and Long Zoom
– Two PL mount cine zooms for digital and
film cameras: Alura 18-80 and
Alura 45-250
– A matched wide and long zoom for an
efficient production workflow
– Small size and low weight for quick and
easy handling on the set
• Fast and Steady
– T2.6
– Consistent aperture over entire zoom
range
Entrance
Pupil 6
ARRI/FUJINON Alura 18-80
Angle of View
H – V – D
Normal 35 8
ID = 27.20mm 7
• Outstanding Optical Performance
– high resolution, high contrast
– Even field illumination
– Minimized ghost and veiling glare due to
FUJINON multi-layer EBC coating
– Greatly reduced chromatic aberration
through the use of extraordinary dispersion
glass
– Minimized breathing, especially at the
wide end where it counts
– 9 iris leaves for round, out-of-focus
highlights and a pleasing, organic bokeh
– Optimized for ALEXA 2K image format (35
format, 16:9, image circle = 29.08 mm),
covers up to DIN Super 35 4:3 (image
circle = 30mm)
T E C H N I C A L D A T A
Angle of View
H – V – D
Alexa/D-21 HD 9
ID = 27.26mm 7
Angle of View
H – V – D
Alexa 2K 10
ID = 29.08mm 7
• Consistent Optical Performance
– Consistent contrast, resolution and field
illumination across the whole focus and
zoom range
• Film Style Ergonomics
– Compatible with film and digital ARRI
cameras and accessories
– Robust construction
– Large, easy-to-read precision focus scales
on both sides
– Matched to existing prime lenses
• Easy Servicing
– Front and rear elements can be exchanged
– Zoom centering mechanism
– Feet/meter focus scales can be exchanged
ARRI/FUJINON Alura 18-80 45-250
Angle of View
H – V – D
DIN Super 35 11
ID = 30.00mm 7
at 18 mm 264.0mm / 10.4" 62.8° - 48.0° - 74.1° 66.8° - 40.7° - 74.3° 70.3° - 43.2° - 77.9° 67.4° - 53.1° - 79.6°
at 50 mm 231.6mm / 9.1" 24.8° - 18.2° - 30.4° 26.7° - 15.2° - 30.5° 28.4° - 16.2° - 32.4° 27.0° - 20.4° - 33.4°
at 80 mm 213.9mm / 8.4" 15.6° - 11.4° - 19.3° 16.9° - 9.5° - 19.3° 18.0° - 10.2° - 20.6° 17.1° - 12.8° - 21.2°
ARRI/FUJINON Alura 45-250
through meticulous planning and extensive
testing. Like all other ARRI products, these
zooms have been constructed to stringent
environmental requirements for the rough
conditions of professional production, be
that in the Arctic or the Amazon. Equally
important is fast and easy operation: large,
easy-to-read precision focus scales on both
sides of the lens make focus pulling a snap.
The Alura Zooms’ color characteristics, as
well as their handling, are matched to existing
prime lenses in ARRI’s outstanding
repertoire. With two new extenders (1.4x
and 2x) developed specifically for FUJINON
PL mount zooms, ARRI now offers the widest
range of cine lenses for all professional production
demands, including zooms, high
speed primes, standard speed primes, extreme
wide angle and telephoto primes,
macro, extenders and diopters.
at 45 mm 234.4mm / 9.6" 27.5° - 20.2° - 33.6° 29.6° - 16.9° - 33.7° 31.4° - 18.0° - 35.8° 29.9° - 22.6° - 36.9°
at 150 mm 2.0mm / 0.1" 8.4° - 6.1° - 10.4° 9.1° - 5.1° - 10.4° 9.7° - 5.4° - 11.1° 9.1° - 6.9° - 11.4°
at 250 mm -101.5mm / -4.0" 5.0° - 3.7° - 6.2° 5.4° - 3.1° - 6.2° 5.8° - 3.3° - 6.7° 5.5° - 4.1° - 6.9°
C a m e r a
Lens Mount1 PL PL
Focal Length Wide 18 45
Focal Length Long 80 250
Focal Length Ratio 4.4 5.6
Aperture T2.6 – T22 T2.6 – T22
Close Focus2 0.7m / 2’4" 1.2m / 3’11"
Magnification Ratio3 1:5.5 1:4
Length 4 285mm / 11.2" 370mm / 14.6"
Front Diameter5 134mm / 5.3" 134mm / 5.3"
Maximum Housing Diameter 134mm / 5.3" 153mm / 6"
Weight (Kg) 4.7 7.5
Weight (lb) 10.4 16.5
Operation Temperature -10°C to +50°C / +14°F to +122°F
Storage/Transport Temperature -20C to +60°C / -4°F to +140°F
1. Positive locking 54 mm stainless steel lens mount
2. Close focus is measured from the film/sensor plane
3. Magnification ratio is the relationship of the size of an object on film (first number) to the size of that object in real life (second number) at the close focus and the telephoto
zoom setting
4. Length is measured from the lens mount to the front of the lens housing
5. Diameter of the lens/matte box interface
6. The distance from the entrance pupil to the film/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an entrance pupil behind
the film/sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the
entrance pupil prevents parallax errors. While largely irrelevant for live action, this measurement is important for special effects work.
7. The image diameter (ID) is the diameter of the image circle needed for the respective format.
8. Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22 mm x 16 mm / 0.866" x
0.630")
9. Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (aspect ratio 1.78:1, 2880 x 1620 sensor pixels, dimensions 23.76
mm x 13.37mm / 0.935" x 0.526")
10. Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa 2K camera aperture (aspect ratio 1.78:1, 3072 x 1728 sensor pixels, dimensions 25.34 mm x
14.26 mm / 0.998" x 0.561")
11. Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24 mm x 18 mm / 0.944" x
0.709")
All data subject to change without notice.
3 9

4 0 C a m e r a
go Wide and Fast > > >
Order Numbers
ARRI/ZEISS Master Prime 12/T1.3,
with meter scales K2.47618.0
ARRI/ZEISS Master Prime 12/T1.3,
with feet scales K2.47718.0
While ARRI already offers the largest matched collection of PL mount lenses available, we are continually striving to
expand the range with additional lenses that offer a new and fresh look. The brand new ARRI/ZEISS Master Prime 12
combines an extreme wide angle with the highest optical quality and a fast speed of T1.3 for the creation of truly
unique images.
One of the unmatched strengths of the
ARRI/ZEISS prime lens program for digital
and film cameras is the availability of extreme
wide angle lenses, including the Ultra
16 lenses at 6, 8, 9.5, 12 and 14mm, the
Ultra Primes at 8, 10, 12 and 14mm and
the Master Prime 14mm. No other company
offers such a wide range of matched primes
with so many wide angle options. The
ARRI/ZEISS wide angle primes represent
state-of-the-art optical design, demanding
the highest manufacturing skill, an expertise
that only very few companies possess.
With the Master Prime 12, ARRI and ZEISS
now add another dimension to this extraordinary
visual mix: speed. The Master Prime
12 has a widest open aperture of T1.3,
which is a very unusual stop for such an
extreme wide angle lens. In addition, it
also shares the unmatched optical performance
and straight image geometry of
the other Master Primes. The combination
of those qualities is unique and allows for
the creation of images that have never
been seen before. The Master Prime 12 is
the ideal lens for a fresh new look at wide
establishing shots, sweeping vistas, shooting
in small rooms or chase sequences,
amongst many other uses.
The expansion of optical technologies into
previously impossible designs has resulted
in individual lenses and lens sets with unique
qualities for every situation on the set. With
the ARRI/ZEISS Master Prime 12, ARRI now
offers an extreme wide angle lens that is fast
with Master Prime optical quality for unique
shots.

ARRI/ZEISS
12
master Prime
A Technological Challenge
Even five years ago, the creation of a 12mm
lens at T1.3 with Master Prime optical quality
would have been technologically impossible.
However, recent advances in high tech optics
design, testing and manufacturing have allowed
ARRI and ZEISS to start thinking about new and
innovative lens designs.
One of the main contributors to achieving such
a unique combination of qualities was the use
of aspherical lens elements. Aspherical lens
elements have been used for a while now in
many ARRI/ZEISS primes because of their ability
to reduce size and weight while improving
image quality. After a number of optical redesigns
it became clear that the Master Prime
12 required two aspherical elements in order
to reach the desired optical quality. Furthermore,
the aspherical front element had to be
of a size that exceeded anything incorporated
into cine lenses before. Luckily, the creation of
large aspherical lens elements is a technology
that has been aggressively developed by ZEISS’s
Semiconductor and Nanotechnology business
units. With their assistance it was possible to
create such a lens element and to develop the
necessary special testing instrumentation. A new
pinnacle in optical design and manufacturing
has been reached with the Master Prime 12.
The Master Prime 12 aspherical front element (left) in com -
parison to the Ultra Prime 8R aspherical front element (right)
while manufacturing.
T E C H N I C A L D A T A
ARRI/ZEISS Master Prime 12
Type 11 Distagon T* XP
Lens Mount 1 PL LDS
Aperture T1.3 – T22
Close Focus 2 0.40m / 16"
Magnification Ratio 3 1:16.5
Length 4 249mm / 9,8"
Front Diameter 5 156mm / 6.1"
Maximum Housing Diameter 156mm / 6.1"
Weight (Kg) 2.9
Weight (lb) 6.4
Entrance Pupil 6 38.09mm
Angle of view
Normal 35 8
ID = 27.20mm 7
DIN Super 35 9
ID = 30.00mm 7
ANSI Super 35 10
ID = 31.14mm 7
Main Features
• A One-of-a-Kind Lens
– Extreme wide angle – 12mm
– Straight image geometry – rectilinear
design
– Fast – T1.3
• A One-of-a-Kind Look
– Wide, straight and fast are a unique
combination
• A One-of-a-Kind Family
– 15x Master Primes from 12 to 150mm
– True T1.3
– Matched optical quality
– Color matched to Ultra 16, Ultra Primes,
Lightweight Zoom LWZ-1, Master Diopters
83.87° – 66.44° – 96.13°
H – V – D
88.85° – 72.70° – 101.97°
H – V – D
90.98° – 74.78° – 104.26°
H – V – D
Notes support post included
Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F
1. Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System
(LDS) contacts
2. Close focus is measured from the film/sensor plane
3. Magnification ratio is the relationship of the size of an object on film (first
number) to the size of that object in real life (second number) at the close focus
setting
4. Length is measured from the lens mount to the front of the lens housing
5. Diameter of the lens/matte box interface
6. The distance from the entrance pupil to the film/sensor plane at focus = infinity.
Positive numbers indicated an entrance pupil in front, negative numbers
indicated an entrance pupil behind the film/sensor plane.
The entrance pupil (often mistakenly called "nodal point") is the center of
perspective; moving the camera/lens system around the center of the entrance
pupil prevents parallax errors.
While largerly irrelevant for live action, this measurement is important for
special effects work.
7. The image diameter (ID) is the diameter of the image circle needed for the
respective format. These lenses are designed for the largest ID given here.
8. Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35
Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm /
0.8661" x 0.6299")
9. Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35
Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm /
0.944" x 0.7087")
10. Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super
35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm
/ 0.980" x 0.7362")
11. T* XP is the trademark for the high end Zeiss anti-reflex lens coating that
reduces veiling glare and other reflections. XP stands for extended performance.
All data subject to change without notice.
C a m e r a
41

4 2 C a m e r a
Wiggling
with master Primes
The New York Times called THE WIGGLES
“The band that rocks the cradle!” and with
over 23 million sales of their DVD’s they
are a phenomenon. I’ve been THE WIGGLES
Director of Photography for over fifteen
years and just as they have evolved with
their productions, I too have progressed. I
started shooting the guys with SP betacam,
moved to digital betacam and currently
shoot High Definition. While I’m pleased to
see the progress of various formats, it is
(f.l.t.r.) Colin Lennon,
Viv Scanu, Ben Zadig
Close Focus on Red Apple
Red Apple Camera Rentals in Sydney
purchased the 100mm Master Macro from
ARRI Australia in December last year. The
company has now acquired all 15 Master
Prime lenses, completing the set available
from ARRI.
“The 100mm Master Macro is an amazing
lens, its quality surpasses that of any other
macro lens in the market today,” says Viv
Scanu, DoP and owner of Red Apple
Camera Rentals. “It’s super sharp with
beautiful focus drop off. The images are
vibrant and contrasty, perfect for not only
macro work but also conventional photography,
I really love shooting with it.” The
secondary to the glass that I put in front of
the camera. Along with these formats, comes
a progression of lenses I have used; from
Standard Definition to High Definition and
now 35mm Master Primes.
The most recent WIGGLES production is
DOROTHY THE DINOSAUR's third TV series,
which I used the Master Primes on. THE
WIGGLES Director, Paul Field said, “How
can I go back to any other lenses after
using the Master Primes? They’ve taken our
production to a new level.” His view is
shared by so many of my clients in the
commercial and corporate world.
After twenty-five years in this industry, I am
finally able to use lenses that are incomparable.
Working at T1.3 enables me to put
the viewer’s eyes exactly where I want them,
whether I shoot digital or film.
100mm Master Macro has proven to be
popular amongst Red Apple’s many lenses.
It has been used on a number of table top
shoots, some of which include high profile
brands such as “McDonald’s” (DoP Danny
Pope, ACS) and “Golden Circle”.
Red Apple has an extensive range of ARRI
film cameras and single sensor digital
cameras, the 100mm Master Macro crosses
paths seamlessly and is used on both
formats, delivering breathtaking images.
“We are now waiting for the next generation
of ARRI digital cameras to be included in
our inventory”, says Scanu, “we can’t wait.”
Borće Damćevski wiggling
with the Master Macro 100
Borće Damćevski, DoP and
owner of “8 Days A Week
Productions” in Sydney and
ARRI Australia have a vivid,
long term relationship.
In August 2009 Borće took
delivery of his Master Prime
set of eight lenses including
the 100mm Master Macro,
which he then completed by
another Master Prime and a
Lightweight Zoom LWZ-1 in
November 2009.

©A.M.P.A.S.®
photo: Danny Moloshok
Super 16 Dream: HURT LOCKER Wins Best Picture oscar
THE HURT LOCKER took home
top honors at the 82nd Academy
Awards, garnering Best
Director for Kathryn Bigelow
and Best Motion Picture of the
Year. The Iraq war film following
a maverick bomb technician
played by Jeremy Renner marks
the first time a female has ever
won the Oscar for directing.
To transport audiences into the reality of
the high intensity, emotionally charged
experience of a bomb squad, the filmmakers
chose to capture scenes on
Super 16. Since the film was independently
financed, the lower cost of
Super 16 was certainly appealing. This
decision was not solely determined by
budget, the filmmakers also wanted to
take advantage of the high production
value the Super 16 look brought, along
with great versatility of the medium.
Bigelow wanted to show multiple points of
Christian Berger
Christian Berger, AAC, Alar Kivilo,
ASC, CSC and Eagle Egilsson claimed
top honors in the three competitive
categories at the 24th Annual American
Society of Cinematographers
(ASC) Outstanding Achievement
Awards celebration at the Hyatt Regency
Century Plaza Hotel in Los Angeles on
Feb. 27, 2010.
Berger, who hails from Austria, won the
feature film competition for THE WHITE RIBBON.
Egilsson, a native of Iceland, earned top
accolades in the episodic category for
DARK BLUE (VENICE KINGS). Kivilo, who is
photo: Phil McCarten
view with four handheld cameras simultaneously
for the majority of the production.
This portability was an important factor while
shooting on location in Jordan.
Bigelow enlisted cinematographer Barry
Ackroyd, BSC, who is known for putting
viewers right in the moment – as seen on
productions like UNITED 93 and BATTLE
FOR SEATTLE.
THE HURT LOCKER was Ackroyd’s first Oscar
nomination for Best Cinematography.
“Everything about this movie – the directing,
script, camera work, music, editing – was
conceived from the beginning with the
single goal of creating that heightened
sense of realism that underscores the tension,
without losing the layering of these complicated
characters,” says Bigelow.
Outstanding performances also brought
much acclaim to the film PRECIOUS, shot
on ARRICAMs provided by ARRI CSC.
ASC Celebrates International
Language of Cinematography
from Canada, was the recipient of the television
movie/miniseries award for TAKING
CHANCE.
The other nominees in the feature film category
were Barry Ackroyd, BSC for THE HURT
LOCKER, Dion Beebe, ASC, ACS for NINE
Mauro Fiore, ASC for AVATAR and Robert
Richardson, ASC for INGLOURIOUS BASTERDS.
Nominated for Best Picture, directing, film
editing, Best Actress, adapted screenplay
and supporting actress, the independent film
took home Oscars for the last two categories.
An Tran
photo: Michael Yada / ©A.M.P.A.S.®
photo: Phil McCarten
C a m e r a
The American Society of Cinematographers
is a non-profit association dedicated to
advancing the art of filmmaking. Since its
charter in 1919, the ASC has been committed
to educating aspiring filmmakers and others
about the art and craft of cinematography.
Currently, the membership roster comprises
302 cinematographers who hail from about
20 different countries.
Bob Fisher
4 3
Kathryn Bigelow
Eagle Egilsson Alar Kivilo

4 4 D i g i t a l I n t e r m e d i a t e S y s t e m s
Professor Dr. Reimar Lenz, in collaboration
with his brother Dr. Udo Lenz – is responsible
for the “core” of the ARRISCAN: the CMOS
image sensor, originally designed for digital
cameras. The ARRIFLEX D-20 and D-21 also
utilize this sensor.
Based upon these parameters, ARRI designer
Michael Cieslinski developed the concept for a
new groundbreaking film scanner towards the
end of year 2000. The objective was to
digitalize film material at its highest possible
speed, at the same time providing utmost
precision and the best possible resolution up to
6K. A precisely controlled LED light engine
together with the calibration of the scanning
system were the core features that formed the
basis for outstanding image quality as well as
being able to exactly reproduce scannings.
The software controlled, intermittent filmtransport
mechanism of the new designed scanner
guarantees precise image steadiness even
when scanning 16- and 35mm material at
higher framerates. During this process, the film
transport flexibly adjusts to the material’s
properties in order to allow scanning modern
movie productions as well as antique, hundred
year old and seriously damaged archival
material. In charge of chief responsibility for
programming this complex drive system was
Bernd Brauner, mechatronics developer at ARRI
Vienna.
Today, the majority of renowned postproduction
houses have an ARRISCAN. 120 units are in use
worldwide – not only to cover current productions,
but also to rescue our filmic heritage into a digital
future or restore material thought to be partially
lost. ARRI supports these achievements by offering
archival film gates, wet gates and real ‘sprocketless’
film transport. For those who already own
an ARRISCAN, these technical innovations can
open up complete new avenues of postproduction
work.
Markus Frees
The team behind
the ARRISCAN
©A.M.P.A.S.®
The Academy of Motion Pictures Arts & Sciences honored
15 achievements at the annual Scientific and Technical
Awards presentation on Feb. 20 th in Beverly Hills – among
them Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner
for the development of the ARRISCAN film scanner. The
evening was hosted by actress Elizabeth
Banks (W., SPIDERMAN 3). She said, “I
really am truly honored to be part of this
evening. It’s a great reminder of every-
thing that goes into what we see at the
movies.”
Sci Tech oscars Pay Tribute to
This marks the 16 th Scientific and Technical
Award that has been bestowed upon the
innovators of an ARRI product.
Cieslinski, Lenz and Brauner were honored
for “the development of the ARRISCAN film
scanner, enabling high-resolution, high
dynamic range, pin-registered film scanning
for use in the digital intermediate process.”
Cieslinski is credited with designing the
innovative LED illumination and serving as
project manager for the scanner, while
Brauner developed the film transport and
Lenz developed the sensor feature.
The ARRISCAN represents the first step in
transferring film images into the digital
realm, enabling powerful digital intermediate
work. The ARRISCAN utilizes a specially
designed CMOS area array sensor mounted
on a micro-positioning platform and a
custom LED light source. More than 120

photo Matt Petit © A.M.P.A.S.®
photo Michael Yada © A.M.P.A.S.®
Michael Cieslinski (left),
Dr. Reimar Lenz (center) and
Bernd Brauner (right)
accepting Scientific and Engineering
Awards for the ARRISCAN
Innovation of the ARRISCAN
ARRISCANs are in use worldwide for digital
intermediate, as well as scanning film for
commercials, restoration and digital dailies
applications.
The ARRILASER film recorder is the last step
in the ARRI family for the digital intermediate
chain, bringing the final look of the production
back onto film for audiences to watch in
theaters. In 2002, Franz Kraus and Dr. Johannes
Steurer of ARRI, along with Wolf-
gang Riedel of the Fraunhofer Institute,
accepted a Scientific and Engineering
Award from the Academy “for the design
and development of the ARRILASER Film
Recorder.”
Recent productions that have utilized the
ARRISCAN include THE BLIND SIDE, UP
IN THE AIR, THE TWILIGHT SAGA, NEWS
MOON, TR ANSFORMERS, REVENGE OF
THE FALLEN and many more.
D i g i t a l I n t e r m e d i a t e S y s t e m s
Since 1930, AMPAS has conducted a program
for honoring artisans whose contributions
have made it possible for the movie industry
to exist and evolve. Approximately 45 people
constitute the Scientific and Technical Awards
Committee representing cinematography
(production and technical), digital imaging,
electronics and research, film and laboratory,
lighting and equipment, mechanical or optical
effects and engineering, production, projection,
exhibition techniques and sound.
An Tran
4 5

4 6 D i g i t a l I n t e r m e d i a t e S y s t e m s
New Tools for the most Comprehensive
Restoration Scan Package on the market Today
ARRISCAN
Archive
Last year the ARRISCAN made
a huge impact on the world of
digital restoration. Image quality
and resolution alongside high
dynamic range scanning and cold,
perfectly calibrated LED illumination
made the ARRISCAN the machine
of choice for restoration facilities
as well as ARRI TV restoration
scanning projects.
A highly flexible computerized and modular
film transport is at the centre of the ARRI SCAN’s
unique benefits when it comes to preserving
our film heritage. The soft archive mode, introduced
last year, has been refined and is now
the perfect tool for adjusting any ARRI SCAN
film transport to the needs of damaged, brittle
and shrunken film material up to 100 years
old.
The archive mode now features the deactivation
of pin registration, the reduction of
strain on the film and decreased scanning
and winding speeds, as well as easy-to-use
frame line correction for non-standard framings.
This allows severely damaged film material
to be scanned, even when several perforations
are missing. Much less manual repair
work is necessary on a project scanned on

an ARRISCAN rather than run through
an optical printer. This results in a faster
turnaround time and less manipulation of
the original historic film.
But the new film transport is not the end
of the ARRISCAN archive story. Our goal
is to develop the ARRISCAN into a device
that is able to scan 100% of all existing
film material, not stopping at the difficult
bits and pieces. That’s why ARRI has designed
new hardware options that can transform
any industry-standard ARRI SCAN
into the ultimate tool for tackling the
challenges of archive material.
Even severely damaged and shrunken film
can be scanned with standard ARRISCAN
film transport
New Sprocketless Transport System
Hope for hopeless cases – an entirely new
sprocketless transport system started to
evolve in early 2009. Beginning with a
working prototype system we undertook the
scanning of several 110-year-old Lumière
perforated films for the Italian restoration
specialists L'Immagine Ritrovata. The success
of this project not only convinced L' Immagine
Ritrovata to get an ARRISCAN Archive themselves,
but also inspired us to continue developing
this powerful tool.
The final product will be shown for first time
at NAB 2010: it is a modular transport that
D i g i t a l I n t e r m e d i a t e S y s t e m s
Standard ARRISCAN sprockets have
up to 3.5 % of shrinkage tolerance
Exchangeable sprocketless
transport system
can be exchanged between normal sprocket
transport and a sprocketless version in less
than one minute. Unperforated or badly damaged
material, which up until now could not
have scanned on any machine in the world,
can now be digitized in perfect quality.
Unlike the capstan transport of telecine-style
scanners, framing can be adjusted electronically
without the need of a sprocket or optical
perforation detector.
4 7

4 8 D i g i t a l I n t e r m e d i a t e S y s t e m s
The new 35mm archive gate
Pinless 35mm wetgate
Pin registered 16mm wetgate
New 35mm Archive gate
Derived from the original archive gate and
with input from ARRISCAN restoration users,
we are introducing a new V2 archive gate
with an especially enlarged scan area. The
new and entirely pinless gate has an aperture
that is not only wider (28mm) but also higher
(21.5mm) than the normal 35mm frame. This
allows for easy scanning even of severely
damaged film material that needs to be stabilized
after scanning, and also allows for
overlap scanning. Because of the high aperture
the new archive gate is ideally suited to
scanning unconventional film formats that
might have even higher frames than normal
4-perforation material.
New 16mm and 35mm
Wetgate System
For the first time ever on a modern, highquality
film scanning system, a complete set
of 35mm and 16mm wetgates is now available
for the ARRISCAN.
For best results in scratch removal, film labs
and archives have always relied on wetgates,
which use special liquids with a refractive
index close to that of the film base
to fill and conceal scratches. The wetgate
scanning results on the ARRISCAN are sensational
for both black-and-white and colour
film. Image details that had been hidden in
the scratched film become visible again,
while the MTF of the scan process is exactly
as good as with a normal dry scan.
This technology can save months of digital
retouching and even rescue films so badly
damaged that no previous digital restoration
process could ever have brought them back
to life.
The ARRISCAN wetgates are unique not only
in their ability to work with low toxic liquids
as opposed to the traditional perc-systems,
but also because they do not use silicon lips
to dry the film after scanning. ARRI’s gate
design uses compressed air and a vacuum to
remove any liquid from the material, avoiding
the risk of further damaging the precious original
film. Any ARRISCAN can be prepared
for wetgate use within one day of service
work and can then be switched back and
forth between dry and wetgate use in
seconds.
The new 35mm Archive Gate provides a much
wider and higher aperture and is ideal for
scanning non-conforming film formats with even
higher frames than regular 4perf material
dry
The Wetgate Tower

Current Productions
Numerous restoration projects have recently
made use of ARRISCAN technology to scan
historic material. These include a joint effort
between ARRI and HS-Art to restore the first
film ever made in Georgia: a portrait of rural
life filmed in 1911. High profile work has
also been done on an ARRISCAN in Munich
for the famous 1973 16mm project of Rainer
Werner Fassbinder: WELT AM DRAHT (DoP
Michael Ballhaus). A new documentary
about Leo Tolstoy, who died 100 years ago,
is currently being produced in Russia. ARRI
has been brought in for the scanning and
restoration work, which is extensive because
the film will be completely made up from
original footage of Tolstoy during the last
years of his life.
Probably the most prestigious project to
have made use of the ARRISCAN is Fritz
Lang’s 1927 masterpiece: METROPOLIS. New
footage from the film, recently discovered on
16mm in Argentina, has been scanned for
restoration. This allowed, for the first time,
the original release version of METROPOLIS
to be shown at the 60th Berlin International
Film Festival in February 2010.
With its scanning quality, efficiency and
reliability, the ARRISCAN has already set
the industry standard. Now it conquers the
past and secures our film heritage into the
future.
David Bermbach
Wetgate scans can rescue films that could
not be restored any other way
wet
The Lumière Project
“A number of tests carried out in Munich gave us
excellent results,” states Davide Pozzi, CEO at
L’Immagine Ritrovata. “The ARRISCAN Archive
GUI is a tool that would take our film restoration
laboratory a great leap forward in quality. So
we decided to add an ARRISCAN Archive with
the prototype of the sprocketless transport to our
machine inventory in August 2009. Our clients
are very pleased by the quality level we have
now reached.”
The most important project so far carried out with
the aid of this elaborate piece of machinery is the
restoration of more than 100 films by the Lumière
brothers for the Lyon Institut Lumière. All films dated
110 year old lumiere-perforated film
scanned on ARRISCAN
D i g i t a l I n t e r m e d i a t e S y s t e m s
At the Grand Lyon Film Festival 2009
back between the end of the nineteenth century
and the beginning of the twentieth.
The materials available for restoration were for the
most part original nitrates of the Lumière per foration
system (a single, round perforation on the side of
every frame). The ARRISCAN’s sprocket less transport
system was the only tool that could perform a
quality scan of such invaluable films.
The restoration of these films premiered to an
audience of 5,000 people at the opening of the
first Gran Lyon Film Festival in Lyon, France, on
October 23, 2009.
Elena Tammaccaro (L'Immagine Ritrovata)
Weblinks:
www.immagineritrovata.it/
www.arri.de/
digital_intermediate_systems/
arriscan.html
4 9
PHOTO: AURéLIE RAISIN / JEAN - LUC MèGE
PHOTOGRAPHIES / INSTITUT LUMIèRE 2009

5 0 D i g i t a l I n t e r m e d i a t e S y s t e m s
Fotokem Purchases
ARRI Relativity Software
FotoKem, a leading full-service motion
picture post production house, has recently
added the powerful Relativity software
suite to their arsenal of existing ARRI Digital
Intermediate Systems products including
the ARRILASER and ARRISCAN systems.
The Relativity suite offers innovative tools
for fast, efficient and interactive control of
image texture caused by film grain and
electronic noise, as well as video standards
conversion and content re-timing, all using
sophisticated motion estimation techniques.
Explains Paul Chapman, FotoKem’s Senior
VP of Technology, “FotoKem and ARRI have
had a long history and this is part of the
reason why we are here together with Relativity.
ARRI has a great reputation, not just
as a product manufacturer but also with
technology. We wanted to partner with
ARRI for this exciting new tool.” The collaboration
between the companies around
Relativity began earlier this year when
FotoKem hosted the product’s launch event
for the American Society of Cinematographers
at their Burbank facility.
ARRI Relativity software is powered by Pixel
Strings, the first engine to harness the
potential of GPU-based parallel processing
for motion estimation and spatial-temporal
image filtering. In its most comprehensive
version, the entire Relativity software bundle
is currently comprised of four different
applications: Texture Control, Clean, Film
Simulation and SpaceTime Converter.
Following a rigorous testing process, FotoKem
configured the Relativity software for their
particular needs to include Texture Control,
Clean, Film Simulation and SpaceTime
Converter. With Texture Control, one can
manipulate the level of film grain and
electronic noise, mixing and matching the
textures of 16mm, 35mm and digitally
acquired images for a particular effect or
visual continuity, and (if desired) even
generate synthetic grain with Film Simulation.
Clean provides an efficient single pass
removal of both white and black randomly
located dust, fibres, and small scratches for
material transferred from film. The SpaceTime
Converter allows time resampling for
creative tempo changes, slow motion and
speed ramp effects. It also allows the
conversion of any TV or motion picture
format into another, with crop/zoom, spatial
resampling, frame rate conversion, de-interlacing
and addition or removal of 3:2 pulldown
through an easy-to-use interface.
Chapman notes, “Here at FotoKem we are
implementing the frame conversion and
grain reduction tools. We ran the software
through a significant period of evaluations.
Our team felt the tool was user friendly and
effectively did the job in such a way that it
increased productivity.
FotoKem was established in 1963 and today
the post facility offers a full menu of services
for features and commercials including film
processing, timing and printing, telecine,
restoration, in addition to filed-based workflows,
digital intermediate pipelines and
services for new camera technologies
including the ARRIFLEX D-21.
An Tran
Company 3 is a high-power grading
and digital intermediate facility in
the industry for feature films,
commercials and music videos. To
deliver the quality of work its clients
demand, in 2007, Company 3
acquired what it believes to be the
best scanning technology available
– ARRISCANs.
After putting four machines into place,
Colorist and Co-Founder Stefan Sonnenfeld
and VP of Engineering, Mike Chiado,
found they could efficiently utilize the
ARRISCANs not only for theater-bound DI
work, but also replacing many telecine
services with true scanning for all filmoriginated
material, including commercials
and music videos.
We spoke with Sonnenfeld and Chiado
about their decision to use ARRISCANs for
film-originated work, even in cases where
the final delivery spec is an HD master.
Why use a full-fledged scanner for
commercials and music videos, rather
than a telecine system if the final product
isn't destined to be seen at a resolution
higher than HD?
Sonnenfeld: When it
comes to feature DI work,
the scanners enable us to
bring more of the original
image information from
the negative to our colorists'
bays. We want to bring
the same level of quality to every film
project we work on – whether it's features,
commercials or music promos.
Do you find that the quality difference
between using a scanner, compared with
telecine, holds up even if the final product
is viewed at a lower-resolution HD format?

Focus on Company 3
File-based Workflow Achieved with the ARRISCAN
Sonnenfeld: With a good 2K scan, a
colorist gets to work with more of the information
that the cinematographer captured
on the original negative. It's always better
to have more information than less – it gives
you a more robust image to start with and
lets the colorist have more room to finesse
the look.
Chiado: Also, with a scanner,
you're starting out with
full-resolution red, green and
blue channels. You aren't
losing information in order
to work with a particular
HD codec.
Why did you choose the ARRISCAN?
Chiado: We compared the images from a
number of scanners. In terms of stability,
noise, resolution, and overall image quality,
ARRISCAN was the best. It lets us work at
higher than 2K resolution if the project
requires it. Generally, for feature work, we
use the option that scans at 3K and then
down-rezzes to 2K. The scanner offers a
number of options – we can scan at 6K
and down-res to 4K. I like the double flash
option, which lets you hit the film with twice
as much light; it reduces the noise and pulls
a more dynamic range from the original,
especially if you start out with a particularly
dense negative.
Were there other features specific to the
ARRISCANs that sold you on them as
opposed to the other scanners you
considered?
Chiado: The pin registration was a factor.
Producers can send our scans to any visual
effects house with the knowledge they have
optimal quality, pin-registered images to
work with. They don't need to transfer
certain material differently because it's part
of a visual effect. They don't have to retransfer
a series of shots additional visual
effects elements are added in later.
Are there other advantages to going the
scanning, rather than the telecine, route?
Chiado: With an all-data workflow, we
don't need to worry about physically moving
tape elements around. The media sits on our
SAN (storage area network). All of our bays
are networked so if a project is moved to
another suite, it's just a question of accessing
data – the DPX files, the color corrector
session file, an EDL (edit decision list) – and
the colorist is ready to go. Of course, you
have all the advantages that go with random
access to media: Nobody has to waste a
client's time queuing up tapes or changing
film rolls; the colorist isn't forced to access
shots in the order they were captured. Also,
it’s great when changes are made to the
cut and a new EDL is sent from editorial. In
a tape-based system, changes can turn into
a complex procedure involving additional
dubs and often a loss in quality. We don’t
experience those issues working this way.
D i g i t a l I n t e r m e d i a t e S y s t e m s
How have your commercial and music video
clients reacted since you started scanning
all their film material this way?
Chiado: The reaction has been very positive
from our commercial clients. In addition to
the increase in quality, they are happy with
the nonlinear workflow and the ability to
grade shots in context.
Sonnenfeld: What I hear has more to do
with the quality and how much of the visual
information from the negative we're able to
work with during the grading process. The
more picture information the colorist starts
with, the better the results can be.
Isn't everything migrating to digital cinematography?
Looking to the future, do you still
feel the investment in four film scanners was
a good one from a business standpoint?
Sonnenfeld: The majority of commercials
are still shot on 35mm film and many people
prefer the look and quality you get when
you shoot film. But that is changing slowly
and we’ve developed a DCC (Digital
Camera Capture) division to address
projects shot digitally.
Chiado: We have the infrastructure to work
with material shot on any of the major digital
cameras – many of which are great for certain
applications. But film continues to be the best
choice for a lot of projects. Many of our clients
see film as the best medium for their needs,
and we expect that to be true for some time.
An Tran
51

5 2 L i g h t i n g
Dr. Markus Ludwig,
Head of Product
Management Lighting
Dr. Hans Kiening,
Head of Quality Control
Labs at ARRI
Skin Tones and Sensitivity
The Determination of
Static and Dynamic Quality
Parameters
With the flexibility and dynamic features of LED technology, it was just
a question of time until these advantages were fully exploited for
quality control and testing applications. Over the past months teams
from the camera and lighting units at ARRI have joined this trend to utilize the
full potential of LEDs in combined projects with our R&D and testing labs.
We are confident that this “camera-light-coupling” will enable a whole new
world of measuring devices and new features to be developed for service
teams and end users.
Intelligent, Dynamic LED Lights
for Special Applications
The three busts were used to verify the skin
tone reproduction of camera systems
As part of a bachelor thesis novel approaches
to the pictorial assessment of camera systems
have been developed. One component of
this work has now been realized in close collaboration
between ARRI Quality Management
in Munich and ARRI Lighting in Stephanskirchen.
For a reproducible analysis of the very important
aspect of skin tone reproduction of
camera systems, artificial busts have been
created by special effects make-up artist
Birger Laube ( PA N D O R U M ). The color of
these busts largely corresponds to the color
of human skin tones.
The three busts with European, African and
Asian skin tones were placed in a studio
set-up, which is lit with innovative LED illumination.
This allows the verification of the skin
tone reproduction of camera systems under
realistic, yet reproducible conditions in artificial
light as well as daylight situations. Another
application of this test scenario is the
comparison of camera systems in terms of
sensitivity and noise.
Simon Pott

iPAX
The ARRI PAX LED Kit with True Match LED
Technology is a very flexible lighting kit, providing
natural light characteristics and an
almost endless color palette that can be set
with maximum freedom by adjusting color
temperature, green correction, dimming
and hue/saturation levels.
So far, this extensive range of features could
only be controlled manually with the Wireless
LEDs in Integration Spheres
The increasing digitization of film and video
camera systems will cause more and more
different models to flood the market. To check
the quality of these systems, typical image
parameters such as dynamic range, noise
behavior, or even color reproduction are
compared with standardized testing procedures
in order to make a statement about
differences. Full format charts are crucial in
order to test cameras as a whole system
and their image quality. In addition to the
small tolerances in the manufacturing process
of the test images, it is also the quality
of light which illuminates the test panels
that will be of fundamental importance. Integrating
spheres guarantee a sufficient uniformity
of the illumination and offer the
possibility to adjust brightness without a
shift in color.
A major disadvantage of current systems is
the limited lifetime of the bulb and the
inability to represent more than one color
temperature without the use of filters. With
the modification of an integrating sphere
implementing the ARRI LEO LEDs it is possible
to generate calibrated color configurations
and a variety of lighting situations. This greatly
expands the possible set of testing situations:
Light Controller. Time to add a software
and hardware package for full control of all
this features – the “iPAX” concept was born.
With this experimental software the user can
now control all features from a computer, either
manually or by macros – it can even translate
any kind of external voltage signals to display
them on the ARRI PAX LED. Analog signals
can be analyzed and converted into RGB,
HSI or Filter values. In addition to that, the
output can be triggered with external sources,
too. A typical application will be to get sig-
Camera systems can be tested throughout
a full range. For example, differences in
camera reactions to daylight and artificial
light are now metrologically recordable.
Effects that occur when illuminating with
saturated red, green or blue light can also
be made visible.
Through thorough calculation and simulation
of new lighting positions all interfering objects
inside the integrating sphere could be
removed. With all those modifications it
was possible to achieve much greater homogeneity
across the entire width and height
of the lighting aperture compared to old
systems.
Philip Schneider
The zemax
wireframe
graph
nals out of a computer to create real lighting
effects that accurately represent those in a
virtual video, image or 3D environment.
Michaela Giglmeier, Lorenz Gerold
L i g h t i n g
The Wireless Light
Controller
Conventional integrating sphere
The test set-up with LED lights
5 3

5 4 L i g h t i n g
matching Light Sources
with the ARRI PAX LED System
Watching production experts set up shots is an interesting pleasure – and one
you can always learn from. In this case it was even more interesting: conventional
light sources were mixed with a VFX light making full use of the ARRI PAX’s
potential to copy in-frame practical light and to add an invisible extra punch
where necessary. Digital Lighting Designer, Mark Read (Hypercube, Boulder CO)
provides us with a deeper insight into his current work:
THE SACRIFICE OF
OLD SAN JUAN
The final key sequence was a low light dramatic
set with a pick-up truck and constantly
changing external lights. When the truck was
properly lit, there was no easy way to get
a natural "glow" from the dashboard to illuminate
lead actor Chris Kelly.
The dashboard offered us the natural "fireside
glow" that we wanted, but this was impossible
to get with gels – a) for reasons of
missing space behind the steering wheel,
and b) – much more complicated – because
we also wanted to incorporate all the changes
the fast way. The sequence was a very
complicated one and needed some camera,
set and lighting changes as well. There was
a constant need to adjust not only the bright-
ANNIE LALLA
For ANNIE LALLA the task was to measure
the white point of the light and the light
values of a source in one portion of the
composition (the practical lights and ambient
lighting spill). The PAX system was
used to obtain the same color values and
white-point (or desired offset) in the rest
of the composition, to amplify the rich
tone of the lamps to fill the room.
ness of the light, but also the colour, as the
reflections and the external lights changes
from shot-to-shot. In post any failure would
have meant a great deal of colour correction
and windowing, if possible at all. The ability
to know exact spectral data of the actual
lighting at the set also enabled the Digital
Intermediate of our film project to offer a precise
reproduction for the final D-Cinema release
throughout the postproduction process.
Director: AK Hottman
DoP: Pablo Berron
Digital Lighting Director & Colorist: Mark Read
Gaffer: Dylan Rumney
Producer in charge of Digital Intermediate:
Claudia Meglin
AN N I E LALLA, DoP & LT: Mark Read
Close-up from a scene of AN N I E LALLA
“To match the ARRI PAX LED system with incident
or reflected light from practical on-set
sources, we first measure the colour by using
an electronic camera,” explains Digital Lighting
Designer Mark Read. “Through shooting
the practical light source we assign the proper
RGB values from the footage. When film is
shot – like in our current project – we use
L*a*b values obtained from a spectrophotometer,
which are converted to RGB/HSB. Actu-
In less than a minute, we checked the
lights and put them in place.
PAX behind the set-up of AN N I E LALLA
photos: Mark Read

photos: Jake Gigliotti
Mark Read
ally it has become a very easy task to reproduce
these values with the PAX system
by just setting them in the PAX controller.”
“Absorption, reflection and transmission also
needs to be considered, and it helps tremendously
to be able to fine tune the light by the
turn of a knob. With gels this used to be a
painful and time-consuming process. Any light
source can be easily replicated or be invisi-
Next we adjusted the temperature and the color,
zeroed-in on the specific reflected ambiance that
was desired.
When Actor Chris Kelly took his place on the set,
final adjustments were made without interfering with
the production process, using a remote camera monitor
The history behind
mark Read’s quest for PAX
Doing productions from concept to mastering,
we needed to implement a common lighting
and white-point. As a consequence our initial
purpose for investigating adjustable LED
lighting was to have a precision system allowing
us to establish and select between
various white points (D55, D60, D65, etc.),
taking into account that the absorption and
reflection can change a room’s lighting from
the nominal D55 a lamp may produce in a
black-body environment, to a shift that changes
bly enhanced in case its light emission is to
weak for the desired effect. Fireplaces, candles
– even lightning bugs might be perfect
candidates for such a treatment. The palette
of effects is ranging from a subtle enhancement
to the most dramatic VFX light used to
exaggerate – all of this right during shooting.”
“In case of lighting for VFX, the values set in PAX
can be brought to post for perfect matching. Another
aspect of VFX is compositing multiple
scenes that are shot separately, but are planned
to have a common lighting. With PAX the ability
to set and match is vast: Lamp type, color temperature,
white point, filter emulation and luminance
can all be recalled at the push of a
button. This does not only apply to complex
CGI scenes, where images are composited
with 3D. Almost any time we used a grading
window to enhance or illuminate an actor’s
face for example, we found out, we can do it
much better and faster if we shoot it right away
with the PAX system.”
and the wireless PAX control. There was no delay in
shooting caused by the ongoing adjustments of the
ARRI PAX LED system and all the shots were consistent
in end appearance, though the actual conditions
changed throughout the scene, requiring PAX
adjustments to be made.
the apparent white-point by hundreds or even
thousands of degrees. Even if the paint and
decor is consistent, it is never neutral, so we
wanted to have a way of setting the room
ambiance to a nominal 5500K to exactly
match the D55 white-point of the screening.
Within only a few minutes of using the ARRI
PAX system, we knew we had a far more
powerful tool than we ever dreamed of. It
was not only capable of calibrating and
matching viewing environments to each other
for color matched dailies, editorial, color
correction and final review, but also capa-
L i g h t i n g
“If you are going digital you might even watch
the set monitor and make real-time adjustments
with the wireless PAX remote controller. As the
lighting on a set is subject to frequent last
minute adjustments this offers a very comfortable
way to respectively balance your lighting
in almost no time at all.”
“For us, the ARRI PAX system is the most revolutionary
lighting instrument since long. We
thoroughly tested the PAX Kit on some of our
productions, when it still was in its prototype
state and were already amazed. Our Studio
carries truckloads of lighting equipment, but
these lights are what we always dreamed of.”
With the ARRI PAX system, colour temperature,
HSB values, overall brightness and a myriad of
filters and gels can be reproduced – be it in front
of a daylight, tungsten, or any other light source with
a desired wavelength. LED units can be controlled
precisely by a multichannel wireless remote.
Presets can be recalled for reference and versioning
with the press of a button. When the camera needs
to roll, the setting for the shot can be recalled
instantaneously.
ble of matching viewing environments to
practical on-set environments, or to match
the lighting of practical on-set elements to
each other, in multiple different shots.
With PAX we are able to match lighting conditions
from one viewing environment to another,
from one set to another, and from one
VFX layer to another, not to mention the creative
control allowing us to match practical in-frame
lighting and to simply dream-up new lighting
expressions that make the shot have the
punch it was missing before.
Interviews: Dr. Markus Ludwig
5 5

5 6 L i g h t i n g
ZDF Fernsehgarten
basks in ARRI True Blue Daylight
12 years ago, ARRI installed the lighting system for one of the most
popular shows of German public broadcaster ZDF, which is in turn one
of the largest networks in Europe. Broadcast live from the garden of the
ZDF headquarters in Mainz-Lerchenberg, TV Garden goes on air with 16 to
20 Sunday morning shows each year and reaches an audience of some
three million viewers, representing a market share of up to 23 percent.
Additionally, between 2,500 and 4,000 live audience members attend
each show on site in Mainz.
Small wonder that ZDF approached ARRI
again when it decided to re-equip the show,
given that the existing system worked for
12 years without any major complaint. Such
prolonged year-round use in an outdoors
Virtual News Studio at ZDF
area that experiences some extreme weather
conditions was impressive proof of ARRI
product quality. However, there were new
challenges for the team at ARRI Lighting
Solutions, as ZDF wanted to optimize the
positioning of the headlamps as well as keep
some of the existing equipment. The revised
concept called for a specific approach and
careful installation precautions, due to health
and safety concerns about the live audience.
By using special lifting equipment the ARRI
engineers solved this problem, enabling a
safe installation despite the narrow access
area.
The new automated lighting system now
incorporates ARRI Fresnel daylight lamps,
including the True Blue Daylight D40, 6kW
and 12kW Daylight Compact lamps, as well
as some motor yokes that were replaced.
Other motor yokes were completely overhauled,
while the smaller 4 and 6kW
motor yokes were renewed.
“The competent handling of this project by
ARRI Lighting Solutions again impressed us,”
says Josef May, project manager at ZDF.
“We especially appreciate the decidedly
higher quality of the newest generation of
ARRI True Blue Daylights. There are so many
technical improvements that are essential to
us. The renewal of our outdoor studio with
this kind of technology also perfectly fits
into a bigger modernization concept that
ZDF has consistently worked on over the
last year.”
ZDF has repeatedly commissioned ARRI in
recent years for some decisive projects, such
as the brand new virtual studio for its most
prestigious news show, Heute. More than
50 ARRI True Blue Tungsten lights were
installed in this newly-built virtual studio.
ARRI is also omnipresent in other studios:
earlier the Berlin project team designed and
supplied the control system for the 200m 2
automated Studio 2, which is home to such
programs as Auslandsmagazin (international
news magazine) and Politbarometer (political
opinion research center).
Norbert Wunderlich

Successful
TV show relies on
ARRI True Blue
HART ABER FAIR (TOUGH BUT FAIR) is a political talk show hosted by Frank Plasberg and one of the most successful
formats on German TV. Five high-ranking guests are typically confronted with questions and discussions about a recent,
controversial issue in politics, economy or society. The program has been honored with numerous awards, including a
German Television Award for ‘Best Information Program’, an Adolf Grimme Prize in the ‘Information and Culture’
category and the Bavarian Television Prize.
TOUGH BUT FAIR
From January 2001, the 75-minute weekly
program was aired by state-owned broadcaster
ARD alternately from its Cologne WDR
studio and a studio in Berlin. As of October
21 st 2009, the production has found a new
home in the ultra-modern TV Werft (TV dockyard)
Studios, located at the East Port in Berlin.
Equipping the new studio was an easy
decision for Helmut Audrit, Managing
Director of TV Werft: “With ARRI Lighting
Solutions we were able to build on previous
and very successful co-operations, like
equipping our Studio 3, which hosts the
SAT.1 Morning Show,” says Audrit. “We
also could be assured of completing installations
within the very tight time schedule
the project demanded. Together with ARRI
product quality and functionality, these
were the deciding criteria for again relying
on ARRI Lighting Solutions as a competent
partner.” The lighting installation for the
approximately 425 m 2 Studio 4 was designed
for the production of HD programs
and completed by ARRI Lighting Solutions
in September 2009.
Markus Eicher, the technical director of the
studio, was especially impressed by the
flexible grid and rail system and its 50 new
ARRI True Blue pole-operated headlights,
mounted on pantographs, and also by the
accurate fitting of an RGB background
illumination system. A new ACN network
system (ETC NET3) rounds off the installation,
to meet all the needs of a modern
and integrated control for both the lights
and the suspension system.
Specific lighting effects for the set decoration
are reliably and effectively integrated into
a comprehensive control system. A greater
number of moving heads can now be easily
positioned with the new network technology.
Usually the integration of moving heads
requires significantly more planning, material
and installation, which were not necessary
in this case. Expenditure of time and costs
was reduced to a minimum.
Another challenge of the project was having
to consider a huge variety of viewing angles,
as the show is recorded in front of a live
audience. As a consequence, maximum
L i g h t i n g
flexibility had to be achieved, as has been
the case with other projects that ARRI Lighting
Solutions has previously designed and
installed for TV Werft. Formats such as ‘maz
& more’ (SAT1 Morning Show) and ‘SAT1 –
The Magazine’ have already made their
HD-equipped home just next door in Studio
3, within Berlin’s creative media center.
Norbert Wunderlich
5 7

5 8 L i g h t i n g
Cheng Seng celebrates
its 50 th Anniversary
To celebrate its 50 th year, Cheng Seng
Trading Company held a huge party on
November 1st 2009 at the Taipei Denwell
Wedding House to share this special
moment with business partners and almost
800 guests.
“Cheng Seng has always been a loyal
and reliable partner to ARRI,” says Paul
Ivan, Managing Director of ARRI ASIA.
“Although I’ve only been involved for two
years, I’ve recognised Cheng Seng’s
commitment to our customers and to the
further development of our business in
Taiwan. Management and employees
combine knowledge, experience, skill
and passion, which makes working with
them a pleasure and a success.” Paul
Ivan then presented David Chiu, Managing
Director of Cheng Seng, with a Silver
Lion, a symbol of strength and loyalty,
Saeki P&C Becomes
official Lighting Distributor
Saeki P&C is now the official lighting
distributor for ARRI in South Korea. This
appointment represents the latest strategic
move by ARRI ASIA to provide a better
service for Korean customers. Established
in 1977, with headquarters in Jongro-Gu,
Seoul, Saeki P&C has been a leader in
photo-related products, such as cameras,
lighting and support items. Although
primarily a distributor, Saeki P&C has
also extended its business into retail,
and now has a head office, two retail
outlets and two warehouses. The retail
showing ARRI’s appreciation of Cheng
Seng’s great work.
Cheng Seng has always been dedicated
to showcasing ARRI products given any
opportunity. At the party, Cheng Seng set
up an ARRI T5 fixture: professionals were
present to demonstrate and introduce the
unique features of the ARRI equipment. As
well as supporting its sales and marketing
efforts, Cheng Seng also invests a great
deal in training and has organised a series
of lighting workshops and open houses at
which people can test ARRI lighting and
professionals can demonstrate and explain
the qualities of ARRI equipment.
Established in 1959, Cheng Seng Trading
Co., Ltd is a lighting distributor in Taiwan
who has been representing ARRI for over
15 years.
Jessica Choy
stores will improve the displays of ARRI
lighting products for both the public and
professionals.
As a leading distributor of lighting
products in South Korea, Saeki’s
broad experience in photo-related
sales and service will make a major
contribution to ARRI’s penetration of
the Korean market.
Jessica Choy

ARRImAX in China
Illuminating the grand gala on Tian’anmen Square
October 1 st 2009 marked the 60 th anniversary
of the founding of the People’s
Republic of China. The Grand Gala, featuring
a light cube performance engaging
more than 4,000 trees of LED lights and a
dazzling fireworks show, was the culmination
of a series of events celebrating this
special day. 12 ARRIMAX and 6 ARRI 18K
Daylight lampheads were selected for
illuminating the Grand Gala that evening,
supported by Zhonghe Studios and ARROW
Studios.
Ma Qingyuan, designer of film and TV
lighting for the Grand Gala and President
of Zhonghe Studios, who is working on
production for the upcoming Shanghai
Expo and boasts clients of famous brand,
shared his thoughts with ARRI NEWS.
How did you get involved in this event?
Ma Qingyuan: Sha Xiaolan, the Chief
Lighting Designer for the Opening and
Closing Ceremonies at the Beijing Olympics,
was also the Chief Lighting Designer for
this event. I worked with Sha at the Beijing
Olympics, and he invited me to help him here.
How big is the lighting area? Which lampheads
were used?
MQ: In addition to the lighting system for the
special effects, it was necessary to light the
entire main performance area. We tested
many ARRISUN 6Ks on the first rehearsal but
found the illumination was not enough and
Ma Qingyuan
the positioning of lampheads was restricted
too. As a consequence we had to reduce the
quantity of lampheads while at the same
time increasing the illumination. In this
scenario, ARRIMAX became a must!
To illuminate the main performance area,
200m x 500m in front of Tian’anmen Tower,
only 12 ARRIMAX and 6 ARRI Daylight 18K
lampheads were needed due to the light
output and the superb quality of illumination
with the ARRIMAX.
Besides a powerful and even illumination for
a big area, were there any other requirements
to be met?
MQ: As you can see from the pictures, a
special frame was set up to position the
lampheads on each side of Tian’anmen
Tower, very close to the leaders of the
L i g h t i n g
Central Government and important overseas
guests. Safety is always a vital issue
and so ARRIMAX’s German TÜV certification
was passed to Central Government officials
for approval. The safety issues were also
checked by ARRI whose quality was highly
praised by the Central Government.
How well did the lighting system cope with
the heavy Beijing rain?
MQ: The rain was unusual in Beijing at
that time of the year, but we had arranged
special plastic covers for each lamphead.
These covers protected the lampheads as
they warmed up and were then taken off
so all the lampheads were working from
7.00pm to 2.00am, without any shutdown!
That’s amazing, and a tribute to ARRI’s
products.
Pearl Guo / Jessica Choy
5 9

6 0 L i g h t i n g
SAT. 1 TV Studio
rbb Studio
(f.l.t.r.) Norbert Wunderlich, Sigrid Müller, ARRI
Lighting Solutions, Mr. Chen Fei, Mr. Cheng Yang
(f.l.t.r.) Frank Schlammer, Pearl Guo, Cheng Yang, Norbert Wunderlich, Chen Fei, Sigrid Müller, Ma Ping (senior colorist),
Liu Zhiping (senior engineer)
The China Film Group Corporation (CFG) is China's largest and most influential state film
production company. In October 2009 a delegation led by CTO, Mr. Chen Fei came to
Germany to meet with the ARRI Managing Board Mr. Franz Kraus and Dr. Martin Prillmann in
the Munich Headquarters, and continued their journey to Berlin to get a first hand impression
of German TV studios equipped and technically designed by ARRI Lighting Solutions.
China Film group
visits Berlin TV Studios
The group also included Mr. Cheng Yang,
general manager of CFG Digital Cinema
Line Co. Ltd., Mr. Ma Ping, a senior colourist
of the China Film Huairou Studios, Mr. Liu
Zhiping, a senior engineer of the China
Film Huairou Studios and Pearl Guo, as an
associate of ARRI Asia.
The first stop in Berlin was at the rbb-studio
that was equipped with a LED backlight
system and a sophisticated ARRI-control
system for the installed lighting by ARRI
Lighting Solutions. The guests from China
were impressed by the high efficiency of
the automated studios and were particularly
interested in the options to save all of the
lights’ positions within the special control
system and to be able to recall those basically
by the push of a button.
Next stop on the tour was the “TV Werft”
(TV dockyard) at Stralauer Avenue and its
specifically HD oriented lighting installation.
Studio 3 hosts the “Morning Show” of SAT1
TV Channel using a green-box system
designed by ARRI. Since the Chinese Film
Group currently plans on a similar system
for their own shows, commercials and other
film productions, this was of particular interest
for the delegation. This highly flexible
system is intended to replace the currently
practiced setup in China, where lighting
systems are usually not permanently installed.
Norbert Wunderlich
(f.l.t.r.) Pearl Guo, Chen Fei,
Frank Schlammer, Sigrid Müller

Based on the design principles of the Academy Award © -winning ARRIMAX, the M18 and
ARRISUN 18 have been shining on a wide array of productions, testing their versatility
and intense illumination while remaining extremely efficient. Known as the “Brightest HMI
you can plug into the wall,”* the M18 is a lens-less, open face lighting fixture that combines the desired
light distribution from the optics of a PAR and a Fresnel fixture. The unique ARRIMAX reflector design creates
diverging rays to produce a crisp shadow. The ARRISUN 18 offers narrower beam angles using common
ARRI spread lenses and a PAR reflector in combination with spot, medium and flood focus settings.
m18 and AS18s Light It Up
The m18 and AS18 were recently supplied by Illumination Dynamics and put to the test on ABC’s The Bachelor Special:
Dennis Weiler
“Thank you so much for
letting me try out the new
ARRI AS18 HMIs on The
Bachelor Special recently.
What I have always liked
about HMIs in the 1200 PAR family was
the fact that I could get a lot of daylight
punch in a small package and still be able
to plug it into any household 20 amp circuit.
From lighting up
product shots, to
actors to enormous
live events like the
Super Bowl, here’s
a sampling of what
some other talented
crew in lighting had
to say:
Michael Bauman
“You guys hit a grand slam
with [the M18]. Seriously.
I've used it with four
different DPs and the
What I did not like was because of the
smaller size of these lights, they tend to be
spotty even with a Fresnel lens. The new
ARRI AS18 and M18 solve this problem
and still can be plugged into any 20 amp
circuit. I love the extra output of the 1800
watt globe. The new design of the reflector
is amazing. The 18 has a soft, beautiful
field of coverage and intensity from edge-
John Moore
“I came to Miami with
Epoch films to shoot a
Heineken commercial…
I scouted a mixture of day
exteriors and large day
interiors, seaside, with windows looking
onto the inlet. I knew we needed at least
three 18Ks to balance the interiors and fill
the exteriors. Bill Hennessey at CSC mentioned
he had the new ARRI M18 available
and I thought this was the job to give it a
reaction has been huge. Plus, the guys love
it. It is a very quick light to set up and with
no lenses, super fast to adjust intensity.
I've used it in several situations where it
has done the duty of what would have been
a 4K PAR. We've used it with a Chimera,
hung straight down, bounces, direct, off of
MAX Menace arms, car rigs… Pretty much
in every conceivable situation and its performance
was fantastic.”
Michael Bauman, Gaffer
to-edge to perfectly fill up a 4' by 4' silk.
Drop in a Fresnel lens and it is very, very
close to a Fresnel fixture. This is truly a versatile
light. Now that we have the M18, the
ARRIMAX 18/12 kW... We need all the inbetweens.
Keep up the great work.”
Dennis Weiler, Lighting Director
Bill Brennan
L i g h t i n g
try. My first reaction was surprise at the spot
to flood range and the punch of the lamp –
to think I could plug it into house power!
Day 2, I put a Chimera bank on the M18 and
used it as a keylight that moved easily from
room to room. By Day 3 it was a scorching
backlight at full spot on the product and
later the bounce fill opposite three diffused
18Ks. So easy, so versatile, I can see it's
bright future…Thanks, ARRI!”
John Moore, Gaffer
“On the very positive
experience I had with the
new 1800 Par and Max
(M18)… It worked perfectly
on the sets for the Super
Bowl in Miami. The difference in output
compared to the 1200 was amazing.”
Bill Brennan, Head Lighting Designer and
President JustLighting
www.justlighting.com
* “Into the wall” denotes a single, 20A 120VAC electrical outlet on a single circuit.
61

6 2 W o r l d w i d e
Digital Production Workshop at
the Beijing Film Academy
Following the successful lighting
workshop at the Beijing Film
Academy (BFA) in 2008, ARRI
presented another well received
two-day workshop at end of 2009
on one of the most discussed items
in the industry: the digital production
workflow. Participants from the
Beijing Film Academy and the China
University of Communication not only
had the chance to get their own
hands-on experience of the latest
technology, but also to learn from
masters in the industry.
Professor Mu Deyuan
If one picture is worth a thousand words,
then what is a film worth? In order to fully
experience the incredible power of state-ofthe-art
technology, showreels were presented
shot with the Master Macro on an ARRIFLEX
D-21 and also on the next digital camera
generation ALEXA. The workshop’s participants
were actually stunned by the breathtaking
beauty of these images. The Master
Macro is the product of a joint effort of ARRI
and ZEISS that delivers phenomenally sharp
and contrasty images with vibrant colours
for extreme close-ups of the highest visual
quality.
On the first day of the workshop, Dr. Scherle,
Vice President of ZEISS, and Nicola Balle,
Marketing Manager shared insights into the
inspiring history of ZEISS and the sophisticated
lens technology; ARRI Digital Manager
Alexander Vollstädt continued with an
in-depth presentation on digital production
workflows.
The following day a special workshop was
held for professors and students at the BFA.
Dr. Scherle (right) and Pearl Guo
The Academy plans to set up a new course
for video engineers, to keep up with the
fast development of digital production.
Alexander Vollstädt shared his experience
in feature film production using the ARRIFLEX
D-21 in the US and Germany. A wide
range of topics, such as recorder formats,
camera settings, the necessary equipment
on location and for post-production were
discussed – all being part of the knowledge
a future video engineer must be deeply
familiar with. “The workshop was a great
bonus for BFA professionals and students,”
as Professor Mu Deyuan, Dean of the
Cinematography Department of BFA,
remarks.
ARRI is especially grateful for the support
of the Beijing Film Academy and Jebsen as
the long time partner and local distributor
which helped to make the two-day workshop
such a success.
Pearl Guo / Jessica Choy

Under the guidance of DoP Gernot Roll (HENRI IV, BUDDEN -
BROOKS), the Vienna Film Academy hosted a D-21 workshop
at the end of last year. More than 100 film creatives took the
opportunity to attend lectures and obtain information on the
latest product developments. Moreover, they were given the
chance to get some hands-on experience of cutting edge
technologies.
Professor Wolfgang Thaler
Journey into Tomorrow´s Images
Expert lecture under the guidance of Mercedes Echerer (middle), Alexander Wieser, Synchro – Film & Video
Postproduction, Henning Rädlein – ARRI Business Development, DoP Gernot Roll, DoP Christian Berger,
Karl Matuschka – broadcasting expert and media consultant, DoP Stephan Musil (f.l.t.r.)
In the podium discussion that followed, Christian
Berger was one of several cinematographers
to take part in a Q & A session.
Berger was nominated for an Academy
Award this year, in recognition of his work
on THE WHITE RIBBON, which also garnered
him a Hamilton Behind the Camera Award
at the November 2009 ceremony in Los
Angeles.
The event at the Vienna Film Academy was
sponsored by LB-electronics, Angénieux,
the Austrian Association of Cinematographers
and the University for Music and
Performing Arts, as well as ARRI. Besides
students of the Vienna Film Academy, a
diverse range of guests participated, including
representatives from the technical,
production, rental, postproduction and
service sectors.
Prior to the event, images shot by VFA
students with ARRIFLEX D-21 and ARRICAM
cameras were screened. The idea of presenting
these shots to the public first arose
during the grading sessions at ARRI Film &
TV in Munich, and the idea was finally
realized last autumn. The digital (2K HD
projection) and analogue (35mm film) shots
were projected via split-screen and then
passionately discussed.
A lively discussion ended in a mutual
agreement that the opportunity to exchange
experiences should be repeated
as soon as possible.
Expert lectures incorporated the following
subjects:
• ARRI LED lighting technology for film
and television
• Digital Intermediate Systems – DIS
• Digital ARRI cameras
– Focus, resolution, contrast, sensitivity
– Important quality parameters for
evaluating digital camera systems
– Raw Data Capturing / ARRIRAW Partner
programs
• ARRI Relativity – de-grain and versatile
manipulation of moving images
Werner Wolf/MM
Professor Christian Berger with the ARRICAM
DoP Gernot Roll
The expert lecturers
W o r l d w i d e
6 3

6 4 W o r l d w i d e
(f.l.t.r.) Renos Louka, Hans Salzinger, Shubham Kasera
Presenting the award was Renos Louka,
Group Managing Director of ARRI (UK).
“We work hard to support up-and-coming
filmmakers at ARRI, so the strong focus on
students at Pune mirrors our own philosophy
perfectly,” says Louka. “It is important to
celebrate those whose careers are just
beginning, as well as those who lead the
industry. Shubham will be among the first
to use ARRI’s new-generation digital camera,
reflecting our belief that in order to develop
as filmmakers, students must have access
to the latest professional tools.”
For the 8 th Pune International Film Festival in January 2010, ARRI
sponsored a new award in the student competition – the ARRI Promising
Student Cinematographer Award. In conjunction with Whistling Woods
International – Asia’s largest film, television, animation and media arts
institute – ARRI presented the inaugural award to cinematographer
Shubham Kasera for his work on the short film MAI. His prize will be the
exclusive use of an ARRI ALEXA digital motion picture camera and a full
set of lenses for 150 days over a two-year period.
Student filmmaker wins
a date with ALEXA
Kasera studied at St. Xavier’s college in
Calcutta and worked in advertising as well
as documentary editing before enrolling at
Whistling Woods on a two-year cinematography
course in 2007. “The subject of M AI
really interested me because it had a lot of
scope to try various stocks and lighting
techniques,” he says. “The film is about the
mother-son bond and the sorrow of separation
– once in the past, when the mother
leaves her son to pursue her career, and
Shubham Kasera
then in the present, when she passes away. So
I had the opportunity to create two different
looks, rather than just one, which meant I was
able to experiment. For the past I went for a
slightly grainy look and shot with an older
Kodak stock – the 5279 500T. The past was
given a slight yellowish tint and a bluish tint
was given to the present-day scenes, many
of which take place in a hospital.”
When asked how he intends to use his prize,
Kasera reveals that he has plenty of ideas
and ambition. “We’re scripting a couple of
feature film concepts, so our goal is to shoot
a full feature in the time we have with the
ALEXA,” he says. “Having the camera is
going to be very helpful for raising additional
finance because it shows that we already
have ARRI supporting the project.”
Ravi Gupta, Executive Director of Whistling
Woods International, states: “Whistling
Woods welcomes ARRI as its partner in the
Student Film Competition. We are proud to
be associated with ARRI in their quest of
providing high quality, high definition
cameras to the filmmaking world and hope
that Shubham enjoys the benefits of the
highly advanced ARRI camera to the fullest.”
Mark Hope-Jones

Dr. Martin Prillmann (right) presents the Silver Frog
to Krzysztof Ptak
CAmERImAgE 2009
DoP Michael Ballhaus BVK, ASC DoP Roberto Schaefer ASC
DoP Dean Cundey ASC
Terry Gilliam took home a special director's award DoP Chris Doyle HKFC
DoP Ed Lachman
An exceptionally diverse collection of films
were nominated in the main competition,
though in the end the winning cinematographers
were Giora Bejach (Golden Frog
award for LEBANON), Krzysztof Ptak (Silver
Frog award for THE DARK HOUSE) and Marcin
Koszałka (Bronze Frog award for REVERSE).
The latest ARRI products and developments
were on display at the ARRI stand, which
attracted a constant stream of visitors. Cinematographers
who stopped by to speak
with ARRI employees included Michael
Ballhaus BVK, ASC, John de Borman BSC,
Dean Cundey ASC, Bruno Delbonnel AFC,
Chris Doyle HKFC, David Odd BSC, Miroslav
Ondˇríček ACK, ASC, Roberto Schaefer ASC,
Dante Spinotti AIC, ASC and Vittorio Storaro
AIC, ASC.
An ALEXA demo model and the ALEV III
sensor demonstrator were the focus of
Staff from a multitude of ARRI companies travelled to Łód´z in Poland
for the 17 th Plus Camerimage International Film Festival of the
Art of Cinematography in November 2009. The festival, which ARRI
has been proud to sponsor for several years, attracts manufacturers
and service providers as well as both established and aspiring
filmmakers from all over the world.
interest on the stand. Feedback from visitors
was extremely positive and it is clear that
the industry anxiously awaits the launch of
the ALEXA digital motion picture camera
system. On seeing pictures shot with the
new sensor, Roberto Schaefer commented
that “the image was startling…a beautiful
moody, accurate image: super sharp, inky
blacks with great detail. I also was able to
hold the full size and weight, non-functional
mock-up of the EVF version. So far it looks
to be a top competitor in the arena.” In
addition, ARRI LED lights on the stand generated
good interest, as did the Professional
Camera Accessories and the ARRIFLEX 416.
ARRI hosted a number of extremely successful
events, including presentations covering the
forthcoming ALEXA range, ARRI Relativity
postproduction software and ARRIRAW.
Oliver Stapleton BSC presented an exceptionally
well attended lighting workshop
W o r l d w i d e
about ‘Poor Man’s Process’, a traditional
technique designed to achieve believable
in-car sequences without the expense of
location work, CGI, greenscreens or even
back projection. The following day, Don
McAlpine ACS, ASC shared some of the
skills and experience acquired over his
illustrious career at another lighting workshop.
As ever, ARRI wound up its presence at
Camerimage by hosting an invitation-only
dinner, which once again was a truly
memorable event. The 192 attendees
included many top cinematographers and
practically every award nominee was
present to collect their nomination plaque.
Mark Hope-Jones
6 5

6 6 W o r l d w i d e
media Film Services at
mediatech Africa Fair
Media Film Service, the leading film equipment rental company in South
Africa, took part last year in South Africa's only all-inclusive broadcast, AV,
media, film and entertainment fair: Mediatech Africa.
The event took place from 23-25 July 2009 at
the Coca-Cola Dome in Northgate, Johannesburg.
Almost six thousand people attended
the show, with the main areas of interest for
visitors including broadcast, film and production,
sound, lighting, staging, rigging, computer
music and production tools.
In anticipation of the 2010 FIFA World Cup,
which South Africa is hosting this summer,
the fair opted for a general soccer theme.
Media Film Service rose to the occasion by
covering its stand in mini-soccer balls; this
not only drew considerable attention but
also helped Media garner a Gold Stand
Award! Reflecting ARRI’s ongoing commitment
to international service and support,
Media’s stand was a perfect platform for
showcasing how the latest cutting edge
ARRI technology can benefit filmmakers.
Media Film Service and ARRI agent Movie
Mart have exhibited at Mediatech previously,
but their presence has always been relatively
restricted due to budget constraints. The
2009 Mediatech show represented a step
up from what has been done in the past
and provided a perfect opportunity to blow
visitors away with new technologies in true
ARRI fashion. It is evident that Mediatech
(f.l.t.r.) Allan Fyfe,
Lee Romney,
Jannie van Wyk
Africa is an invaluable opportunity to meet
and connect with key players in the industry,
as well as demonstrate equipment.
ARRI specialists Lee Romney and Allan Fyfe
aroused much excitement with a demonstration
of the new portable LED lighting
range and the new Master Macro 100 lens.
Another product that particularly captivated
the attention of broadcasters and sports
enthusiasts was the ARRI Hi-Motion digital
camera. The ARRIFLEX D-21 also generated
significant interest from visitors, with Gideon
Furst of Media Film Service on hand to share
his vast HD knowledge and experience.
The Mediatech exhibition is primarily
focused on the African film and broadcast
industries, and the brilliant attendance rate
ensures that South African companies can
make connections with prospective Northern
African clients whom they would otherwise
struggle to contact. In light of the forthcoming
World Cup, there is unprecedented interest
in South Africa and Mediatech 2009 saw
broadcasters and filmmakers from throughout
Africa attending the show to network
with one another and view the latest technological
innovations.
Tracy van Wyk

Dr. Martin Prillmann, Adel Adeeb,
Franz Kraus (f.l.t.r.)
The Good News Group is the leader in the Egyptian
media industry. Thanks to the efforts of its
CEO Adel Adeeb and strong cooperation with
Antonio Cazzaniga from ARRI Italia, which is
responsible for the Egyptian camera market,
an agreement was signed to establish the biggest
state-of-the-art film studios in the Middle
East. This exciting announcement was made
during a crowded press conference held on
August 31st at GN's Grand Hyatt Hotel movie
theater in Cairo. At the table with Adel Adeeb
were Franz Kraus and Dr. Martin Prillmann,
representing the ARRI Group of companies;
Mohamed Ashoub, ARRI’s agent in Egypt and
Antonio Cazzaniga, who managed the prephase
of this agreement.
Preparations are now underway to build an
initial 14 studios. They will be equipped with
the latest technology available for filming -
cameras and lighting, DI, colour grading
and a lab for printing. In addition, a large
Cairo Arab media Festival
Antonio Cazzaniga and Mohamed Ashoub
(f.l.t.r.) Minister Anas Al-Fiqqi, Mohamed Ashoub,
Antonio Cazzaniga
A Bold Collaboration
Biggest and most modern studio in the middle East to be built
number of set decorations will be built. The
actual construction is scheduled to begin in
spring 2010 in the Sixth of October City,
and will last for the next three years. The
facilities will be used for Good News films,
while also providing the most sophisticated
base for local and foreign productions.
“The studios are going to give work to 2,000
young Egyptian technicians, who will be
trained by the ARRI team,” says Adel Adeeb.
“They will also be the first in the Middle East
to host the technology for an entirely digital
filmmaking solution. I want our studios to
provide better special effects, more space
to be creative and technology that will save
you time. This is the added value that we
will be providing to the market.”
Adeeb’s cost savings already received a
boost earlier this year with the government’s
decision to exempt filming equipment from
This festival is among the most important
exhibitions to take place in the Arab countries.
Organized by ERTU (the Egyptian Radio &
TV Union) under the auspices of Mr. Anas
Al-Fiqqi, Minister of Information, the 2009
event was held in Cairo's Media Production
City between November 11th and 15th.
Minister Anas Al-Fiqqi officially opened the
trade show at the booth occupied by ARRI,
where the company was represented by local
distributor New Vision and its CEO Mohamed
Ashoub. Delegates from 18 countries and all
fields of the industry, ranging from producers
and creatives to distributers, and executives,
attended the exhibition. The rapid growth of
the Egyptian media industry was best reflected
in the enthusiastic response to top-of-theline
products such as the ARRIFLEX D-21.
During the exhibition, Antonio Cazzaniga
presented the ARRI Italia Excellence Award
W o r l d w i d e
customs duties to ensure that international
and domestic filmmakers are able to use
the latest in technology.
The signed memorandum with ARRI is seen
as the first milestone of a strong and deep
relationship. By seeking the advice and
support of ARRI, the Good News Group
guarantees that the most advanced and
future-proof systems, workflows and equipment
will be put in place.
Egypt already reached a first peak as an
international shooting location due to its
scenery and studios during the mid 70s, when
it was nicknamed the ‘Hollywood of the
Middle East’. Today, the Egyptian film industry
is rapidly growing again and sales of ARRIFLEX
D-21 cameras and the ARRISCAN film scanner
are clear signals of an uncompromising,
high-end approach.
Antonio Cazzaniga
to Mohamed Ashoub, CEO of New Vision
and ARRI representative for camera and lighting,
for his outstanding sales performance.
“It is an interesting and rewarding task to
serve the Egyptian industry during this time
of growth,” says Ashoub. “In a period of
financial difficulties, product quality and
long lasting investments are essential to my
customers. I am proud that the D-21 has
already been sold in Egypt and that it will be
soon followed by other sales. These efforts
took us not only to commercially good results,
but also paved the way to the recently signed
agreement between ARRI and the Good
News Group, for which I have worked long
and hard. The decision to create the biggest
and most advanced production center in
Egypt impacts the entire Arab world, and
we should not forget the skill and the strong
mission of DoPs and producers to follow an
innovative and courageous way in cinema.”
Antonio Cazzaniga
6 7

6 8 W o r l d w i d e
With technology advancing
and the industry evolving faster
than ever before, ARRI has been
reorganising its internal structure
in order to meet today’s
challenges and provide the best
possible service to customers.
Stephan Schenk, ARRI’s
General Manager of Camera and
Digital Intermediate Systems,
discusses the structural changes and
the positive benefits they will bring.
Your New Contacts
(in alphabetical order)
Natasza Chroscicki
Consultant
nchroscicki@mac.com
Why have the camera and Digital Intermediate
Systems (DIS) Product Groups been
combined into a single Business Unit?
Stephan Schenk: We feel that image
capture and postproduction are becoming
increasingly connected. The cameraman’s
decisions now have a big impact on the
best route through post, so our strategy on
the camera side must take account of that.
In today’s industry post houses are thinking
about buying their own camera equipment
and rental companies are thinking about
what postproduction services they can offer.
With all that going on, it’s important that
the camera sales team is sensitive to DI
needs and the DIS sales team sensitive to
camera needs. The simple answer is that
film and television production workflows are
changing, so we can best serve the industry
by echoing those changes internally.
What motivated the incorporation of
sales operations into the product business
units?
Stephan Schenk: Walter Trauninger
and I head the Camera and DIS Business
Unit, and we share the same goal: responding
to customer needs as swiftly as possible.
We have amalgamated sales into the Business
Unit in order to streamline operations
Markus Frees
Director Sales DIS, EMEA
mfrees@arri.de
NEW
David Green
Sales Manager DIS, EMEA
dgreen@arri.de
and encourage teamwork with the technical
departments. Product management and
sales are now under a common leadership,
which leads to synergies and makes detailed
knowledge more directly available
to customers while bringing first­hand customer
feedback into R&D and production.
This collaborative approach has already
proved very beneficial and everybody
now feels part of the team. It benefits customers,
but also motivates staff by creating
a vibrant and positive atmosphere; this is
an exciting time for the industry so it should
be an exciting time to be working at ARRI,
because we are one of the companies
that are shaping the future.
Has the new ALEXA camera prompted
any structural changes?
Stephan Schenk: While the ALEXA
project continues a long tradition at ARRI
of developing groundbreaking products,
many of the specific technologies involved
are so innovative and new that we must
adjust ourselves around them in order to
take fullest advantage of their potential.
We have, for example, set up a group
called the Digital Workflow Group, which
brings together all the experts from various
divisions within ARRI. The task of this team
Sheila Hauer­Hesch
Customer & Sales Support
shauer­hesch@arri.de

HoRIZoNS Stephan
is to analyse the workflows of our customers,
define a recommended workflow for our
digital cameras and communicate that
workflow internally and to our customers.
Because of the speed at which digital
technology is moving forward we have
also backed up Marc Shipman-Mueller –
our product manager for cameras – by
hiring Hendrik Voss from Band Pro. He
brings additional expertise in digital
acquisition, 3D and lenses, so he will be
a product manager for specific products
in those areas.
Have other new people been brought in?
Stephan Schenk: One of the great
things about both the ALEXA project and
the structural reorganisation is that we
are attracting real talent to the company.
We have instigated a targeted recruitment
drive in order to increase both technical
and regional expertise. Markus Frees
joined us in September 2009 from Da
Vinci Systems; he’s heading up a sales
team for DIS. In December we brought in
David Green, a 19-year Cintel veteran
who had also been at Da Vinci. Recently
we welcomed back Matthias Klein, who
has rejoined ARRI to oversee regions in
Western and Eastern Europe.
Matthias Klein
Sales Manager Camera, EMEA
mklein@arri.de
In terms of regional expertise, we
announced at Micro Salon in France that
Natasza Chroscicki, who heads Image
Factory, is now our official contact person
for the French market. We also have a new
French-born sales manager in Munich -
Johan Meunier - who will look after the
Mediterranean region and act as a contact
for ARRI Italy. This drive to install representatives
with specific regional knowledge
is an ongoing one and we expect further
appointments in the near future.
Will adjustments to the sales structure
affect sales support?
Stephan Schenk: We are expanding
our customer & sales support capacity
and have also made new appointments
in this area because we are seeking to
improve the links between our customers,
our sales managers and our internal shipping
and accounting departments. Sheila
Hauer-Hesch and Anja Leibensberger recently
joined our sales support team, both
of whom have considerable experience
working in customer support at prestigious
companies.
In the UK we have directly connected the
ARRI sales staff to the sales operation in
Munich, which will improve sales support
Anja Leibensberger
Customer & Sales Support
aleibensberger@arri.de
Schenk
by increasing the expertise available to
customers. The sales team in the UK
remains the same, but by centralising
stock we will make the ordering process
more efficient and improve the communication
chain.
Have there been other changes with
regards to ARRI’s daughter companies
around the world?
Stephan Schenk: We have already
started working much more closely with
our subsidiaries in Asia and the Americas
to ensure that the needs of our customers
all over the world are taken into account
when we define products and services.
So that could bring benefits to future
products as well as current sales
customers?
Stephan Schenk: Like all of these
changes it’s a positive move, designed to
facilitate our overriding goal of bringing
the best products to market and providing
filmmakers with as much creative freedom
as possible.
Mark Hope-Jones
Johan Meunier
Sales Manager Camera, EMEA
jmeunier@arri.de
W o r l d w i d e
Hendrik Voss
Product Manager
hvoss@arri.de
6 9

7 0 W o r l d w i d e
In 1955, Thomas Popp began his career to
become a precision mechanic and successfully
finished his vocational training three and
a half years later - not only as the best of his
age group and the best graduate of ARRI –
but also as the best precision mechanic in all
of Munich. For his achievement, Thomas
Popp was awarded not only by the Chamber
of Commerce but by ARRI company founder
August Arnold personally – an event that
could be compared to receiving knighthood.
In 1966, he acquired an additional degree
as a state approved technician at the Oscarvon-Miller
Polytechnikum, followed by another
degree as master of business administration
in 1973.
It is a story about how fast fifty-five years of working
experience can fly by – yet, it is no retrospective, but
rather a close-up of someone who does not really fit
into the scheme of “retirement”…
1
Thomas Popp –
5 2006 at Camerimage
6 2002 with
Jean Luis Deriaz
7 2010 at Marburger
Kamerapreis
8 Jost Vacano with the
ARRIFLEX 35 III
In the sixties and seventies, working as a
design engineer, Thomas Popp was primarily
involved in the development of the very
successful ARRITECHNO 35, the ARRIFLEX
35 BL and the ARRIFLEX 35 III. According to
the requirements from Jost Vacano, he developed
independently, based on the 35
IIC-X-Ray, the 35 IIIC. Sophisticated image
challenges demanded a very mobile, versatile
camera: thus the worldwide renowned
film classic DAS BOOT was realized, which
has set significant standards to date.
“In practical use – For practical use“ was
ARRI’s motto right from the beginning: “We
never wanted to hide behind the drawing
to live the
6
board,“ comments Thomas Popp. This also
included unfamiliar tasks: from September
to December 1985 and in cooperation with
architect Erich Durnes, Thomas Popp renovated
the ARRI cinema in record time – on
schedule to host the Bambi Film Award
Celebration.
A new era began: in addition to high-quality
mechanical engineering, more and more
electronics entered the camera construction
and assembly. As the responsible project
manager, Thomas Popp concentrated on
the ARRIFLEX 535. In 1989 he took over the
product management for the ARRI medical
technology; a product area that incorporated
5
7

ARRI way
both analogue and digital technologies.
Thomas Popp does not consider these two as
opposites – whether with regard to the technical
approach or to his gradual changeover
from the engineering to the sales department.
For him, it was a logical consequence of his
business training. The desire, “to see beyond
the end of your own nose,” as one says in
German, is perhaps his most important
motivation until today.
Under his leading management, a considerable
variety of new developments for the
clinical sector were realized in the years to
follow: the ARRIPRO 35 which later turned
into the LOCPRO 35, with appropriate mobile
ARRILAB, the QANSAD System and the ARRI
OSCAR. Products which almost seamlessly
and smoothly continued the outstanding
success of the ARRITECHNO X-ray camera.
For a company at home in the film business,
this was a mostly uncharted territory, however,
with almost 13,000 ARRITECHNO
cameras sold, a considerable sales turnover
was achieved.
Long before in the seventies, Thomas Popp
had laid down another milestone for this
business sector, when he developed and
marketed, in collaboration with Philips: the
first so-called DCI system for archiving in
medical technology – DCI for Digital Cine
Imaging - a very early forerunner of data
transfer from electronic images into the longterm
storage media film.
He was entrusted with this topic when it came
to continuing the improvement of image
processing in the medical sector, in cooperation
with diverse heart research centres as
well as OEMs. In 1999 ,Thomas Popp, on
behalf of ARRI, is awarded with the “Supplier
Quality Award“ by Philips-Best.
2
1 + 2 1973 Design Engineer Thomas Popp
3 1978 with Erich Kästner and Otto Blaschek
4 1998 with Bob Arnold and Max Welz
In the new millennium, completely new
markets came into focus – this time, not
only from the technical, but even more from
the geographical point of view: from 2001
on Thomas Popp intensified his ambitious
work and focused on Eastern European and
Central Asian states which had previously
only been accessible to a certain limit for
political and economic reasons. This task
required large scale restructuring and a
person who has always regarded special
tasks as challenging opportunities, not as
barriers. ARRI has become a rocksteady
partner for the increasing cinematographic
boom in these countries. Therefore, it was
not surprising that a TV team for the German
network “Deutsche Welle“ accompanied
Thomas Popp during his trip from Moscow to
Kiew to report about the newly awakening
media market.
In 2002, Thomas Popp took over the management
for the camera and digital sector on a
directorial level – the worldwide network of
agencies was expanded, for example in Dubai,
Russia, Kasachstan, Asia, the Arabian World…
the rapidly increasing globalization points the
way for business development and brings
with it an increased demand not only for
technology, but also long years of experience
and a very personal commitment.
In 2004, Thomas Popp was appointed Sales
Director and together with Sigrid Müller, he
also took on the position of Managing Director
of the newly founded ARRI Lighting Solutions
in Berlin, which, aside from other projects,
plan and provide equipment to many studios
in the emerging markets.
“To act as a team player today is more important
than ever,“ is his credo and his recruitment
criteria is very individual – back
3
W o r l d w i d e
in 1966, he already founded the FC ARRI
and has trained the company football team
for years. Aside from all the technology,
Thomas Popp`s dedicated ambition mainly
focuses on seeing the human side, making
partners and personal contacts. A good
product always remains part of a complete
unit. It is this very attitude that marks his
character and for which he was distinguished
in 2008 at Camerimage. Thomas Popp was
the first person to receive the Golden Frog
Award as a Festival Friend; since its foundation,
he had supported the Festival.
Camerimage`s increasing success has
made it an important meeting place for
renowned camera creatives worldwide. In
2010, Thomas Popp was admitted to the
BVK as extraordinary member – a special
honour granted only once before to an
ARRI member. Furthermore, since 2007, he
has been entrusted with activities in the
board of managers “Fördergemeinschaft
Filmtechnik Bayern – FGF e.V.”.
All this does not sound like retirement, even
if, after a working period of fifty five years,
he would have earned one. However, a true
member of the ARRI family, as is Thomas
Popp`s very personal definition, “does not
compromise: You have to live and breathe
ARRI. Experience is not something you can
pick up and hand over like a camera or a
light. A slow, calm and supportive development
towards to retirement is advantageous
for customers, too. This means I will still be
available as a consultant for some time.” That
is his concept for the time to come.
7 1
4
8

7 2 W o r l d w i d e
Volker Bahnemann:
The Steady Hand
Behind ARRI Inc.
After 48 years with ARRI, Volker Bahnemann, President and CEO of ARRI Inc.
and ARRI/CSC is stepping down, ending a prolific career that helped shape
this imaging technology company into the largest and most reputable motion
picture equipment manufacturer in the world. Volker has been with ARRI Inc.
since its inception and in his 32 years as CEO, he has not only contributed
and witnessed the organization’s growth but also the production industry’s
technical and artistic evolution.
Volker Bahnemann on
CINEMATOGRAPHER STYLE
Volker’s career at ARRI actually began even
earlier, with an apprenticeship at Arnold &
Richter in Munich. It was not for a love of
movies or fine engineering, but because of
the company’s close location to his home that
guided his decision as a 16 year old. This
choice would change the company forever.
After this three-and-a-half year apprenticeship
and another year of specialized service
training, Volker decided to leave Arnold &
Richter for another industry in Mexico. But
when Paul Klingenstein needed technical
support for his expanding business as
distributor for Arriflex equipment in the
United States he contacted Volker and soon,
the young man headed to New York to start
his new job as camera service technician.
It goes to the credit of Paul Kingenstein in
recognizing and awakening Volker’s potential
to turn this job into a career.
Volker was promoted to Service Manager
and, in 1972 became Vice President, Marketing
for ARRI’s expanding product line.
Although ARRI cameras and equipment had
always been very popular with European
Volker Bahnemann and Jon Fauer
filmmakers, Hollywood, with its different
crew structure and production approach
had not embraced this equipment for other
than second unit, handheld and documentary
work. Volker realized that in order for ARRI
cameras to become a standard production
tool, the equipment needed to adapt to the
specific demands of American crews.
Volker also recognized that ARRI needed to
establish a stronger product identity. Having
engaged a talented art director, he began to
co-write the copy for ARRI’s advertising,
which he continued to do throughout his
career.
He worked closely with cinematographers
and crew who put ARRI equipment through
the paces. Spending many a night on set,
occasionally even loading magazines, he
listened to their needs, knowing that this
feedback would result in the improvement
and refinement of ARRI’s equipment. Many
of these artists realized Volker was an ally
to their craft and in 1974, he became the
youngest associated member of the American
Society of Cinematographers.

That same year Volker was named President
of Arriflex Company, then a division of Berkey
Photo Inc, a large photographic product
marketing company. Four years later, with the
support of Arnold & Richter, Volker separated
Arriflex Company from Berkey Photo Inc. and
formed the new Arriflex Corporation as the
very first subsidiary of the German company.
Operating in the U.S. – the largest and most
important film market in the world – Volker,
had very significant input and influence in
new product development, solidifying ARRI’s
position during a period of rapid technological
change in the industry.
From this vantage point he was able to foresee
and initiate many important developments
and refinement of significant film-
making technologies such as the ARRIFLEX
35III, ARRIFLEX 765, ARRIFLEX 435, IVS and
ARRIFLEX 235 cameras as well as ARRI/ZEISS
High Speed and Variable Prime lenses. These
products had groundbreaking impact on the
way films are shot and helped evolve storytelling
in ways that were previously not
possible. All of these innovations have been
recognized by the Academy of Motion
Pictures Arts and Sciences with Scientific and
Technical Awards.
But while ARRI was well known and respected
for its camera products, it had no presence
at all in motion picture lighting. Recognizing
the potential of HMI technology for film
lighting (developed by Osram and Dr. August
Arnold), Volker started an uphill battle against
a well-established industry-wide equipment
base. Recognizing his lack of lighting market
experience, he hired Charlie Davidson, a
seasoned lighting salesman and together
they built a great team. The rest is history.
Attracting the right people, giving them the
support and confidence to reach the highest
level of performance they are capable of has
been the company wide management style
implanted by Volker. This is also expressed
by his company motto: Quality, integrity,
stability.
In 1986, under Volker’s direction, ARRI
acquired Camera Service Center in New
York where he also served as President and
CEO. Since that time CSC has grown to
become one of the largest, most respected
full-service rental houses with operations in
New York and Ft. Lauderdale. In 2002, an
opportunity arose to acquire Illumination
Dynamics (ID), a small lighting rental
company in Los Angeles which, together
with a Charlotte, North Carolina facility has
since expanded greatly to serve movie, sport
and special events productions nation wide.
.... with Fred Schuler (left) ....with Otto Blaschek during the
Oscar Ceremony 1989
....with Charlton Heston
Volker became a member of the Academy
of Motion Picture Arts and Sciences in 1977
and served on the Scientific and Technical
committee for many years. In 1997 he was
awarded the prestigious John Bonner Medal
of Commendation ”in appreciation for outstanding
service and dedication in upholding
the high standards of the Academy of
Motion Picture Arts and Sciences.”
In 2002, the Society of Motion Picture and
Television Engineers (SMPTE) presented him
with the Fuji Gold Medal Award “for outstanding
achievement in the motion imaging
industry.” He holds several US patents in the
field of contrast control and color balance
for variable output lights for photography.
Under his direction, ARRI quietly contributed
much to the education and advancement of
aspiring cinematographers. Producing several
instructional films and books, contributing a
large collection of books on film technology
to the ASC library and supporting AFI
graduate projects, are just some examples.
W o r l d w i d e
In 2003, Volker together with his long time
friend Jon Fauer developed an idea for a film
about the art and technology of filmmaking.
He co-wrote and produced, with Jon Fauer
shooting and directing, the project titled
CINEMATOGRAPHER STYLE, which eventually
captured over 100 interviews with cinematographers
from all over the world. The
film screened internationally and it continues
to educate and inspire audiences about the
power of filmmaking. In describing the project,
Volker stated, “The subject of the film is the
art and craft of cinematography. It is about
how everything, from life experiences to
technology, influences and shapes an
individual’s visual style. Because of the
powerful impact that the visual style of a
movie can have, this documentary may
offer contemporaries valuable insights into
the dramatic choices cinematographers make.”
Developing and providing the right tools
for these talented storytellers, has always
been Volker’s objective as he helped guide
ARRI into the 21st century. Technology
continues to evolve, and with it is ARRI -
always looking ahead but mindful of its
legacy and experience in providing the
best equipment for filmmakers.
Quality, integrity, stability – it can’t be
expressed any better.
Beyond his role at the helm of ARRI Inc.,
Volker has been an active pilot since 1968,
and holds a commercial pilot’s license with
Instrument, Multi-Engine and Flight Instructor
ratings. This interest and some continuing
involvement in the industry he lived and
loves will provide a fulfilling and fitting
transition from his dynamic and successful
career at ARRI.
An Tran
7 3

74 W o r l d w i d e
4k+ Publications honored by SmPTE
Dr. Hans kiening receives Journal Award
Extensive research in all related fields of
the industry is one of the finest tasks when
designing new products. For almost sixteen
years Hans Kiening is now active in groundbreaking
research at ARRI. One of his tasks
was to take a deeper look into the aspects
of image resolution, and how this transfers
throughout the entire production chain –
from the acquisition with different systems
An ARRICAm for HFF
munich Film Academy invests in ARRICAm
“We continue to regard 35mm and 16mm
film as an essential, indispensable format
for training and educating potential camera
creatives, directors and producers. For
this reason we have invested in an ARRICAM.
Moreover, we are going to install a full digital
film processing pipeline for 16mm/35mm
in 2K with an ARRISCAN in our new building,
which we plan to move into 2011.
and formats through the digital realm to the
final projection in cinemas. In 2007 he
started publishing his results, cleaning up
with some of the myths involved, and developing
valid standards for comparison purposes.
His series of articles was continued
until 2009, when the Society of Motion Picture
and Television Engineers honored him with
the prestigious SMPTE Journal Award.
Established at the beginning of this year under
the responsibility of Thilo Gottschling, the
new restoration and archiving department
is targeting the emerging market of moving
image preservation using both photochemical
and digital techniques.
Based on the whole range of the ARRISCAN
archive options and the market-leading soft-
Dr. Hans Kiening (2 nd row, 3 rd from left)
with SMPTE Award winners in 2009
New Archive and Restoration
Department at ARRI Film & TV Services
Also, HFF (Munich Film Academy) will, of
course, offer different digital recording systems
to provide students with the full and
complete spectrum of recording media. Professor
Michael Ballhaus, designated head
of the new camera VII sector, already had
the opportunity to use the ARRICAM during
this year`s camera seminar.”
Professor Peter C. Slansky, HFF
(Hochschule für Fernsehen und Film), Munich
ware tools ARRI Film & TV Services has been
handling digital restoration projects for years,
increased demand has led to the setting up of
this dedicated department. Recently the wet
gate scanning and digital restoration of 70
minutes of a hundred year old footage for
a documentary about novelist Leo Tolstoy
started.
Professor Slansky (right)
and Philip Vischer (ARRI)

ARRI RENTAL GERMANY
ARRI CSC
ARRI MEDIA
ARRI LIGHTING RENTAL
Title Production Company Director DoP Equipment
ZIMMER 205 Neue Schönhauser Film Rainer Matsutani Jan Fehse ARRICAM ST/LT, 2-Perforation, Master Primes,
Lighting, Grip
UNKNOWN WHITE MALE Zwölfte Babelsberg Film Jaume Collet-Serra Flavio Martinez Labiano ARRICAM ST/LT, 3-Perforation, ARRIFLEX 235,
Lighting, Grip
DAS BLAUE VOM HIMMEL d.i.e. film Hans Steinbichler Bella Halben ARRICAM LT, 3-Perforation, Master Primes,
Lighting, Grip
THE SOLITUDE OF PRIME NUMBERS Bavaria Pictures Saverio Costanzo Fabio Cianchetti ARRICAM ST/LT, 2-Perforation, ARRIFLEX 235
THE APPARITION Fünfzehnte Babelsberg Film Todd Lincoln Daniel Pearl Lighting, Grip
EMILIE RICHARDS Polyphon International Michael Keusch Stefan Spreer ARRIFLEX 416, Ultra Primes
BLOODRAYNE 3 Boll AG Uwe Boll Mathias Neumann ARRICAM LT, 3-Perforation,
Master Primes, Lighting
DIE LIEBE KOMMT MIT DEM CHRISTKIND (AT) Mona Film Peter Sämann Claus Peter Hildenbrand ARRIFLEX 416, Ultra Primes
WIE MAN LEBEN SOLL DOR Film David Schalko Marcus Kanter ARRIFLEX D-21
Title Production Company DP / Lighting Director Gaffer Equipment Supplied
WHY DID I GET MARRIED TOO A O Productions I, Inc. (Tyler Perry) Toyomichi Kurita ARRICAM ST & LT 3-Perforation ARRI CSC FL
BLACK SWAN Lake of Tears Matthew Libatique, ASC ARRIFLEX 416, 16SR3 HS (S) ARRI CSC NJ
THE CONVINCER Cinemechanics, Inc. Dick Pope, BSC ARRICAM ST & LT, (S, 3-Perforation) ARRI CSC NJ
LIGHTS OUT TMV Productions Richard Rutkowski Phil Testa Lighting & Grip ARRI CSC NJ
CRITICS CHOICE AWARDS Bob Bain Productions Tom Kenny Conventional & Automated Lighting Illumination Dynamics
THE BACHELOR 14 AND Syndicated Oscar Dominguez Conventional & Automated Lighting Illumination Dynamics
WARREN THE APE MTV Peter Smokler John Tanzer Lighting Illumination Dynamics
MILLER LITE COMMERCIAL H.S.I. Irv Blitz Miles Watanabe Lighting & Grip Illumination Dynamics
GOSSIP GIRL Gossip Girl WBTV Ron Fortunato, ASC Tom Percarpio Lighting & Grip ARRI CSC NJ
MERCY Open For Business Frank Prinzi, ASC Gene Engels Lighting & Grip ARRI CSC NJ
Title Production Company Director DoP Equipment
WHITECHAPEL (SERIES 2) Carnival Film & Television David Evans David Odd BSC ARRIFLEX D-21
BOUQUET OF BARBED WIRE Mammoth Screen Ashley Pearce Mike Spragg ARRIFLEX D-21
THE EAGLE OF THE NINTH Belmont Productions Kevin Macdonald Anthony Dod Mantle BSC, DFF ARRICAM LT 3-Perforation, Grip
THE NUBAN PROJECT Nuban Productions Gabriel Range Robbie Ryan ARRICAM ST, ARRICAM LT,
ARRIFLEX 235 2-Perforation
AFRICA UNITED Film Africa Debs Gardner-Paterson Sean Bobbitt BSC ARRICAM LT 2-Perforation
KILLING BONO Cinema Three SPV 3 Nick Hamm Kieran McGuigan ARRICAM ST, ARRICAM LT,
ARRIFLEX 235 2-Perforation
ALBATROSS CinemaNX Niall MacCormick Jan Jonaeus ARRIFLEX D-21, Ultra Primes
LUTHER BBC Various Julian Court / Tim Fleming ARRIFLEX D-21
LAW & ORDER: UK (SERIES 2) Kudos Film and Television Various David Luther ARRIFLEX D-21, Ultra Primes
ASHES TO ASHES (SERIES 3) Kudos Film and Television Various Adam Suschitzky /
Simon Archer / Balazs Bolygo ARRIFLEX D-21, Grip
TAMARA DREWE Ruby Films Stephen Frears Ben Davis BSC ARRICAM ST & LT 3-Perforation, Grip
THE SPECIAL RELATIONSHIP Trilogy Films Richard Loncraine Barry Ackroyd BSC ARRICAM LT 3-Perforation
Title Production Company Director DoP Gaffer Best Boy
SEX AND THE CITY 2 Avery Pix, inc. Michael Patrick King John Thomas John Velez Ryan Rodriguez
GULLIVER TRAVEL'S Fox UK productions Rob Letterman David Tattersall BSC Eddie Knight Stewart Monteith
LAW AND ORDER: UK (SERIES 2) Kudos Film and Television James Strong David Luther Mark Clayton Benny Harper
ASHES TO ASHES (SERIES 3) Kudos Film and Television David Drury Bolazs Bolygo Chris Bird Tony Flesher
LUTHER BBC Stefan Schwartz Julian Court Brandon Evans Colin Powton
BEL AMI Bel Ami Productions Limited Declan Donnellan / Hagen Bogdanski John Colley Vince Madden / Andy Cole
Nick Omerod
KILLING BONO Cinema Three SPV 3 Ltd. Nick Hamm Kieran McGuigan Brian Livingstone Carlo McDonnell
WHITE CHAPEL 2 Carnival Film & Television David Evans David Odd Alex Scott Rob Osbourne
YOUNG, UNEMPLOYED AND LAZY Big Talk Productions Richard Laxton Richard Mott Shawn White Tony Hannington
ATTACK OF THE BLOCK Big Talk Productions Joe Cornish Tom Townend Julian White Matt Wilson
W o r l d w i d e
7 5

Key Contacts
Product Sales
ARRI Cine Technik
Business Unit Camera &
Digital Intermediate Systems
Stephan Schenk
+49 - (0) 89 - 38 09 - 1044
sschenk@arri.de
ARRI Cine Technik
Business Unit Lighting
ARRI Lighting Solutions
Sigrid Müller
+49 - (0) 30 - 678 23 30
smueller@arri.de
ARRI Italia, Antonio Cazzaniga
+39 - 02 - 26 22 71 75
acazzaniga@arri.it
ARRI Inc., USA, Glenn Kennel
+1 - 818 - 841 - 7070
gkennel@arri.com
ARRI Canada, Sebastien Laffoux
+1 - 4 16 - 2 55 33 35
seb@arrican.com
ARRI ASIA Ltd., Paul Ivan
+852 2571 6288
pivan@arriasia.hk
ARRI Australia, Stefan Sedlmeier
+ 61 (2) 9855 4300
ssedlmeier@arri.com.au
Rentals
ARRI Rental Deutschland
Thomas Loher
+49 - (0) 89 - 38 09 - 1440
tloher@arri.de
ARRI Media, Philip Cooper
+44 - (0) 1 89 54 57 100
pcooper@arrimedia.com
ARRI Lighting Rental, Tommy Moran
+44 - (0) 1 89 54 57 200
tmoran@arrirental.com
ARRI CSC (NY)
Simon Broad, Hardwrick Johnson
+1 - 212 - 757 - 0906
sbroad@cameraservice.com
hjohnson@cameraservice.com
ARRI CSC (FL), Ed Stamm
+ 1 - 954 - 322 - 4545
estamm@cameraservice.com
Illumination Dynamics (LA)
Carly Barber, Maria Carpenter
+ 1 - 818 - 686 - 6400
carly@illuminationdynamics.com
maria@illuminationdynamics.com
Illumination Dynamics (NC), Jeff Pentek
+1 - 704 - 679 - 9400
jeff@illuminationdynamics.com
Film & TV Services
Key Account: Angela Reedwisch
+49 - (0) 89 - 38 09 - 1574
areedwisch@arri.de
German Sales: Walter Brus
+49 - (0) 89 - 38 09 - 1772
wbrus@arri.de
Lab: Martin Schwertführer
+49 - (0) 89 - 38 09 - 2091
mschwertfuehrer@arri.de
Commercial: Philipp Bartel
+49 - (0) 89 - 38 09 - 1514
pbartel@arri.de
Digital Intermediate: Harald Schernthaner
+49 - (0)89 - 3809 - 2002
hschernthaner@arri.de
VFX: Dominik Trimborn
+49 - (0)89 - 3809 - 2073
dtrimborn@arri.de
Sound: Bernd Clauss
+49 - (0) 89 - 38 09 - 1810
bclauss@arri.de
www.arri.com
ARNOLD & RICHTER CINE TECHNIK
GmbH & Co. Betriebs KG
Türkenstr. 89 · D-80799 Munich
phone +49 - (0) 89 - 3809 - 0
fax +49 - (0) 89 - 3809 - 1245
Expo Calendar 2010
These are the most important exhibitions where you can find out about
ARRI products and services
2010
April 12 – 15 NAB Las Vegas
April 27 – 29 CPS Moscow
June 03 – 06 CineGear Los Angeles
June 15 – 18 Broadcast Asia Singapore
June 15 – 18 Koba Seoul
June 22 – 24 Testing Expo Stuttgart
August 22 – 25 BIRTV Beijing
September 10 – 14 IBC Amsterdam
September 18 – 20 cinec Munich
October 19 – 21 Satis Paris
October 21 – 23 Broadcast India Mumbai
October 22 – 24 LDI Las Vegas
Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 Munich
Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Müller
With additional text by: David Bermbach, Antonio Cazzaniga, Madeleine Davis, Jessica Choy, Hans Fischer,
Bob Fisher, Markus Frees, Lorenz Gerold, Michaela Giglmeier, Pearl Guo, Catherine Hjelm, Mark Hope-Jones,
Klaus Jacumet, Dr. Markus Ludwig, Simon Pott, Marc Shipman-Mueller, Henning Rädlein, Philip Schneider,
Stefan Sedlmeier, Elena Tamaccaro, An Tran, Adrian Widera, Werner Wolf, Norbert Wunderlich, Tracy van Wyk
Artwork: Jochen Thieser, Uwe Heilig, Markus Kronberger
Printed by: Rapp-Druck GmbH, Flintsbach
The opinions expressed by individuals quoted in articles in the ARRI NEWS do not necessarily represent those of ARRI or the editors of the ARRI NEWS.
Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and
specifications given in this publication are subject to change without notice.
Ident Nr.: K5.44025.D