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