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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
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Page 3 and 4: Dear Friends and Colleagues Dr. Mar
Page 5 and 6: ARRI/FUJINON Zooms ARRI/ZEISS Prime
Page 7 and 8: How the Work Flows… Future Proof
Page 9 and 10: Powerful options 3D optimized The E
Page 11 and 12: Flow Apple ProRes Direct-to-Post Wo
Page 13 and 14: S.two OB-1 * FilmLight Filmlight Ba
Page 15 and 16: Workflow Case Study ARRIRAW Workflo
Page 17 and 18: Recently, the newly founded ARRI Di
Page 19 and 20: The sensitivity of the ARRI sensor
Page 21 and 22: The production was supplied with AR
Page 23 and 24: LIE TO ME When Sidell was brought o
Page 25 and 26: 81 Degrees North extreme cold, rain
Page 27 and 28: (f.l.t.r.) Kai Schubert, Hans Fisch
Page 29 and 30: Transforms two streams of 1920x1080
Page 31 and 32: ASWAR EL AMAR (MOON WALL) is among
Page 33 and 34: photo Dean Morin it turned out that
Page 35 and 36: What postproduction route was taken
Page 37 and 38: photo: Ingeborg Klyve John Christia
Page 39 and 40: M A I N F E A T U R E S • Matched
Page 41 and 42: ARRI/ZEISS 12 master Prime A Techno
Page 43: ©A.M.P.A.S.® photo: Danny Molosho
Page 47 and 48: an ARRISCAN rather than run through
Page 49 and 50: Current Productions Numerous restor
Page 51 and 52: Focus on Company 3 File-based Workf
Page 53 and 54: iPAX The ARRI PAX LED Kit with True
Page 55 and 56: photos: Jake Gigliotti Mark Read al
Page 57 and 58: Successful TV show relies on ARRI T
Page 59 and 60: ARRImAX in China Illuminating the g
Page 61 and 62: Based on the design principles of t
Page 63 and 64: Under the guidance of DoP Gernot Ro
Page 65 and 66: Dr. Martin Prillmann (right) presen
Page 67 and 68: Dr. Martin Prillmann, Adel Adeeb, F
Page 69 and 70: HoRIZoNS Stephan is to analyse the
Page 71 and 72: ARRI way both analogue and digital
Page 73 and 74: That same year Volker was named Pre
Page 75 and 76: ARRI RENTAL GERMANY ARRI CSC ARRI M

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