Documente Academic
Documente Profesional
Documente Cultură
VisionARRI
The Biannual International Magazine from the ARRI RENTAL & POST PRODUCTION ENTERPRISES
THE BOURNE
ULTIMATUM
DoP Oliver Wood discusses
his experiences shooting the
third Bourne instalment
Tin Man
The ARRIFLEX D-20 returns
to Oz for TV miniseries
Now you can choose from more ARRI/Zeiss lenses than ever
before. The Master Zoom further expands the ARRI/Zeiss lens
family, providing you with a robust, comprehensive choice of
matched lenses of the highest optical and mechanical quality.
Eastern Promises
Available
worldwide from
Mongol
The challenge of bringing the story
of Genghis Khan to the big screen
VISIONARRI
AUSTRALIA
Cameraquip, Melbourne,
Brisbane
Cameras
Malcolm Richards
T +61 3 9699 3922
T +61 7 3844 9577
rentals@cameraquip.com.au
BULGARIA
Boyana Film Studios, Sofia
Cameras, Lighting, Grip
Lazar Lazarov
T +359 2958 2713
director@boyanafilm.bg
CYPRUS
Seahorse Films,
Nicosia, Paphos
Cameras, Digital, Lighting,
Grip, Studio
Andros Achilleos
T +357 9967 5013
andros@seahorsefilms.com
FRANCE
Bogard, Paris
Cameras, Digital, Grip
Didier Bogard, Alain Gauthier
T +33 1 49 33 16 35
didier@bogard.fr
alain.gauthier@bogard.fr
GERMANY
Maddels Cameras GmbH,
Hamburg
Cameras, Grip
Matthias Neumann
T +49 40 66 86 390
info@maddels.com
HUNGARY
VisionTeam, Budapest
Cameras, Lighting, Grip
Gabor Rajna
T +36 1 433 3911
info@visionteam.hu
ICELAND
Pegasus Pictures, Reykjavik
Cameras, Lighting, Grip
Snorri Thorisson
T +354 414 2000
snorri@pegasus.is
IRELAND
Illumination Dynamics, LA
The Production Depot,
Lighting, Grip
Co Wicklow
Carly Barber, Maria Carpenter
Cameras, Lighting, Grip
T +1 818 686 6400
John Leahy, Dave Leahy
carly@illuminationdynamics.com T +353 1 276 4840
maria@illuminationdynamics.com john@production-depot.com
dave@production-depot.com
Illumination Dynamics,
North Carolina,
JAPAN
Lighting, Grip
NAC Image Technology Inc.
Jeff Pentek
Tokyo
T +1 704 679 9400
Cameras, Digital
jeff@illuminationdynamics.com
Tomofumi Masuda
Hiromi Shindome
T +81 3 5211 7960
masuda@camnac.co.jp
NEW ZEALAND
Camera Tech, Wellington
Cameras
Peter Fleming
T +64 4562 8814
cameratech@xtra.co.nz
ROMANIA
Panalight Studio, Bucharest
Cameras, Lighting, Grip
Diana Apostol
T +40 727 358 304
office@panalight.ro
RUSSIA
ACT Film Facilities Agency,
St. Petersburg
Cameras, Lighting, Grip
Sergei Astakhov
T +7 812 710 2080
act@actfilm.ru
SCANDINAVIA
BLIXT Camera Rental,
Denmark, Norway & Sweden
Cameras, Digital
Bjrn Blixt
T +45 70 20 59 50
blixt@blixt.dk
SOUTH AFRICA
Media Film Service,
Cape Town, Johannesburg,
Durban, Namibia
Cameras, Digital, Lighting,
Grip, Studio
Jannie Van Wyk
T +27 21 511 3300
jannie@mediafilmservice.com
SPAIN
Camara Rental
Madrid, Barcelona, Malaga
Cameras, Grip
Andres Berenguer, Alvaro
Berenguer, Sylvia Jacuinde
T +34 91 651 3399
andres@camararental.com
alvaro@camararental.com
sylvia@camararental.com
info@camararental.com
Irving Correa
T +1 818 761 4440
irvingc@clairmont.com
12 LONDONS UNDERWORLD
33 A SYMPHONY OF SOLOISTS
22 RETURN TO OZ
38 MONGOL
42 COPACABANA
25 SHADOWS
46 SIDE EFFECT
28 EAST OF EVERYTHING
TO INNOVATE
CONTENTS
10
55 STATE-OF-THE-ART TECHNOLOGY AT
ARRI SCHWARZFILM BERLIN GMBH
ARRI SchwarzFilm Berlin upgrades facilities
56 MOMENTS IN TIME
59 PANALIGHT
38
GOOD PRAYERS
30 A THOUSAND YEARS OF
VISIONARRI
Oliver Wood:
OW:
VISIONARRI
OW:
Ive always been very fond of Cooke lenses; I just like the look.
We used the 150mm Cooke quite a bit on the Steadicam, but
we were mostly on the zooms.
Shooting fast action scenes with hand-held
cameras and wide lens apertures must have been
challenging for your crews.
VA:
Photos by: Jasin Boland 2007 Universal Studios. All Rights Reserved
cables and extra bits and pieces that were put together at
ARRI Media. Some had been custom made, so basically those
two suitcases went with us around the world. In New York for
instance I took the two cases from ARRI Media and the Nikon
lenses that were made and then we rented the basic camera
package from ARRI CSC in New York.
Each time we had new assistants I had to instruct them in how
it all went together. Basically in Europe and England we had
the same crew. In Germany we had a new crew, although I
took the A and B camera focus pullers and operators, and
everyone else in Berlin had done Supremacy with me so they
were pretty much up to speed. Then when we got to New York
it was a whole different ball game, but they were brilliant too;
they came up with their own rigs and were very creative. All
the different crews contributed; it was an organic process.
The camera crew list is about four pages long, and then on top
of that there was a second unit. There were three cameras on
the second unit; they had to put their own packages together,
based on ours. When we scouted it, this was all planned out
we decided what was going to be first unit, what was going to
be second unit but once we were shooting there was no way
I could be there; they were completely autonomous.
VA:
OW:
VA:
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VISIONARRI
A Virtual
Spot for
Real Assets
ARRI Film & TV Commercial pulls
out all the stops for Investment
Bank Cortal Consors
Amid the numerous TV spots promoting
financial products and services on German
television there is one that stands out: an
avant-garde, 3D animated commercial for
investment bank Cortal Consors, the onlineaffiliate of BNP Paribas. This successful
collaboration between Cortal Consors,
advertising agency Serviceplan and ARRI
Commercial has proved it possible to create
visually impressive television spots for a
financial institution.
Client:
Cortal Consors S.A.
Director of Marketing:
Brand Manager:
Kai Wulff
Konelija Klisanic
Agency:
Serviceplan Zweite Werbeagentur GmbH
Management:
Joachim Schpfer
Budget Director:
Clemens Dreyer
Creative Director:
Daniela Bardini
ARRI Film & TV Commercial:
Head of Commercial:
Philipp Bartel
Producer:
Phil Decker
Head of 3D:
Christian Deister
Character Animators:
Vladan Subotic,
Gregoire Barfety
Flame Artist:
Rico Reitz
Colour Grading:
Janna Slzer
VISIONARRI
RS:
Khaled Hosseinis debut novel, The Kite Runner, was first published in 2003 and has since sold more than
seven million copies worldwide. Set against the political events of Afghanistan, the story is about the
doomed friendship of two childhood friends; Amir, the son of a powerful Kabul businessman, and Hassan,
the son of the faithful family servant.
The boys are inseparable until one fateful day when Amir is determined to win a local kite-flying tournament to secure his fathers
approval. On the afternoon of the contest Amir finds Hassan being brutally attacked by a local thug. He does nothing to help,
shattering their relationship. Shortly after, Amir and his father leave Afghanistan, fleeing the Russian invasion to begin a new life
in America. But Amir cant forget what happened to Hassan and after 20 years of living in the US, returns to a perilous
Afghanistan under the Talibans iron-fisted rule to face the secrets that still haunt him and to set things right.
Shot by Director Marc Forster and DoP Roberto Schaefer ASC for DreamWorks Pictures, The Kite Runner is the duos seventh
collaboration. Their partnership has spanned more than a decade, producing films such as the award winning Monsters Ball and
Finding Neverland, and has recently seen them embark on their eighth project together, the latest instalment of the James Bond franchise.
Authenticity was a hugely important factor of the production. Due to the obvious dangers of the conditions in Afghanistan the
production team sought alternative locations for filming, finally settling on China which was considered to be the best fit in terms of
appearance. Much of the films dialogue is in Dari, the Persian language spoken in Afghanistan, and most of the actors involved,
including the child actors, were native speakers.
The film was shot in 3 perforation with an ARRICAM Lite, ARRICAM Studio and ARRIFLEX 235 provided by ARRI Australia.
VisionARRI spoke to Roberto Schaefer about his approach to the project and his experiences shooting in China.
VisionARRI: Can you tell us briefly
what the movie is about?
VA:
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VA:
RS:
RS:
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RS:
www.kiterunnermovie.com
Clemens Danzer / Andrea Rosenwirth
11
LONDONS
UNDERWORLD
VISIONARRI
Peter Suschitzky BSC films the dark side of London for Eastern Promises
The latest film from legendary Canadian Director David Cronenberg is a violent tale of the
Russian mafia in London, touching on the global sex trade that exists in todays society.
Nikolai (Viggo Mortensen) works for one
Londons most feared organized crime
families. His path crosses with Anna
(Naomi Watts), a midwife at a London
hospital where a 14-year-old Russian girl
has recently died during childbirth. In a bid
to uncover the teenagers identity and find
a home for the baby, Anna looks for clues
in the dead girls diary, but she unwittingly
holds damaging information that could
lead to the unraveling of the familys
criminal network. Nikolai must make sure
this doesnt happen. Several lives hang in
the balance as a chain of murder, deceit,
and retribution reverberates through the
darkest corners of London.
The script for Eastern Promises was
originally developed at the BBC but was
picked up by Focus Features, a division
of Universal Pictures, who sent it to
Cronenberg to direct and Paul Webster
to produce. We were so pleased
when David was appointed, recollects
Co-producer Tracey Seaward. Hes a
masterful director and was always in total
control of the shoot. David creates an
almost instinctive relationship with each
and every department.
The film is Cronenbergs first to be shot
entirely outside of Canada. Although he
brought most of his heads of department
with him, a strong UK crew was
assembled to work with them. Seaward
was involved in planning how the
production would best organize filming
at locations around London, as well as
3 Mills Studios: About half of the
location shooting took place at night, she
says, which was quite complicated due
to the fact that many of the sites were in
residential areas and therefore we had to
respect the local residents.
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LONDONS UNDERWORLD
VISIONARRI
Photos by: Peter Mountain 2007 Focus Features. All Rights Reserved.
14
Another set-up that Colley recollects was a car scene that was
shot without rear screen projection or bluescreen. Both David
and Peter wanted a traveling car scene to look as realistic as
possible, he says. Initially, there were a few late nights in the
studio, but the decision was made that the real world was the
best way to provide the actors with an opportunity to deliver their
dialogue. The location department worked overtime to provide us
with a suitable backdrop and flexible working conditions. We
must have looked like a space ship traveling down Upper Street
on a low loader. There were about 15 or so small ARRI lamps,
from 650W to 2kW, with various colours to match the
surroundings of the streets. I sat next to Peter at the camera with
a dimming desk on my lap while he called out where the lights
should play.
Shooting at night around London had its advantages for Colley.
Its the best time to go to work, he claims. Youve got total
control of lighting and contrast ratios. We used a combination
of Wendy lights with an underslung ARRI T24 or T12 to focus
on specific areas, which worked very well for us. Some nights
proved to be pretty hectic from a logistical point of view:
On more than a few occasions there were six or seven cherry
pickers and Genie booms, as well as four or five generators.
Credit to Rigging Gaffer Vince Madden and Best Boy Andy
Cole for keeping things running smoothly.
Having worked with ARRI Lighting Rental on many films in the
past, Colley was confident in their level of service: I knew they
would be able to deliver the service and equipment needed in
order to meet the demands of the schedule, he affirms. By
working closely with Sinead Moran we were able to maintain a
balance between budget and schedule. Seaward also has a
long standing association with both ARRI Lighting Rental and
ARRI Media. I have a close and trusting relationship with both
companies, they always provide great technical support and
service. Its important to know that someone is always there at
the end of the phone to help you 24 hours a day.
All involved agree that working on the film was a truly
rewarding experience. Im really proud to have worked on
Eastern Promises, reflects Seaward. It was a calm environment,
we were always on schedule, the crew were fantastic and there
was a great camaraderie with the cast so much so that one
day Viggo Mortensen decided it might be a good idea to
become my assistant, the next thing we knew he was handing
out cakes to all the cast and crew!
Colley adds: I was thrilled to have the opportunity to work with
David and Peter. Occasionally I had to pinch myself that I was
actually on set with them. It made all those heavy lamps and
dirty cables in the pouring rain worthwhile. They had such a
great understanding with each other and their energy was
tempered and directed. Once we had captured the scene, we
moved on. The crew and cast involved on this film all worked so
well together.
15
VISIONARRI
Behind the
Scenes of the
Mazda2 Spot
ARRI Film & TV Commercial
and Hager Moss Film produce
powerful TV advertisement.
Television spots for major car
manufacturers are among the most
demanding of commercial productions
and usually command budgets that run
to six figures. Few of these extravagant
commercials are made in Germany,
so Munich-based production company
Hager Moss was especially pleased
when it was commissioned to create
television spots for the Mazda2
campaign. Hager Moss in turn brought
ARRI Film & TV Commercial on board
and the result was an impressive
television commercial that proves
Germany to be capable of taking on
productions of any scale.
An advertising campaign focusing on
the sportiness of the product leaves no
doubt about its target market. The
Mazda2, which is the most recent and
most compact model in the Mazda fleet,
is aimed at young drivers looking to buy
their first car. In order to best appeal to
this demographic, the manufacturer and
their advertising agency, J. Walter
Thompson, agreed to steer clear of
familiar campaign concepts. The
approach had already been established
with a print campaign featuring a surreal
collage of images juxtaposing naked
bodies in sporty poses and cold blue
tones with a metallic-green Mazda2.
16
17
VISIONARRI
WE SHOT A LOT OF
FOOTAGE AND
VERY LITTLE WAS
BUILT AFTERWARDS
IN 3D, BUT DESPITE
ALL THAT, EACH
FRAME IS A
COMPOSITE AND
THEREFORE A
STAND-ALONE
WORK CREATED AT
ARRI DURING
POSTPRODUCTION.
TO KEY 130
INDIVIDUAL TAKES,
SHOT WITH A
MOVING CAMERA,
WAS A CHALLENGE
THAT KEPT 10
PEOPLE BUSY FOR
12 DAYS. AND
THAT WAS A
RATHER FAST
TURN AROUND.
the idea of replacing it with a computergenerated virtual and reflective floor.
Unfortunately there were no reflections of
the real car on the floor and creating
them in compositing proved too difficult,
because of the many different camera
angles. Instead, the reflection of the 3D
model was used and takes of the real
car projected onto its 3D counterpart.
Together they were reflected onto a
virtual surface in photorealistic quality
using XSI Softimage.
The soft light in the Photobubble resulted
in a pleasing soft contrast, but in two or
three shots it made the cars finish appear
somewhat flat. The 3D team was able to
address this issue on Flame and create a
glossier look. The 3D model of the car
was given a shiny texture and then
placed, as a layer, over the real car.
The 3D options on Flame are limited, but
when it comes to gloss and finish effects
the tool is perfect, says Rico Reitz.
The spatial design was also completed
on Flame, with abstract photographic
textures digitally placed on the
VISIONARRI
THE PHOTOBUBBLE interior and studio floor were keyed from white to create an abstract space
Project:
Mazda2 Competition
Client:
Mazda Motor Europe
Agency:
J. Walter Thompson GmbH &
Co. KG Dsseldorf
Head of TV JWT:
Marie-Louise Seidl
Creative Director JWT:
Eddy Greenwood
Art Director JWT:
Igor Karpalov
Production:
Hager Moss Commercial
Executive Producer:
Eric Moss
Producer:
Jrgen Kraus
Postproduction Supervisor:
Nilou Tabriz
Director:
Paula Walker
DoP:
Rolf Kestermann
Editor:
Markus Goller
ARRI Head of Commercial:
Philipp Bartel
Art Director:
Rico Reitz
Telecine:
Stefan Anderman
Flame Artists:
Rico Reitz
Michel Tischner
Stefan Tischner
Rotoscoping:
Manuel Voss & Team
3D Artists:
Christian Deister
Adam Dukes
Jawed Naser
Chris Weingart
Gregoire Barfety
Lutz Pelike
21
Return to Oz
ARRIFLEX D-20 on Tin Man
VISIONARRI
23
VISIONARRI
Milcho Manchevskis
ARRIFLEX D-20
Shadows
A growing number of filmmakers have entrusted their visions to the ARRIFLEX D-20 film-style digital
camera in all areas of motion picture and television drama production. Over the last year, the cameras
versatility has been tested on feature films, TV drama series, commercials, music videos, second unit and
effects shots.
24
VA:
MM:
VA:
SILENT WITNESS
Jan Thijs
THE COMPANY
HOGFATHER
25
VISIONARRI
SHADOWS
VA:
FC:
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27
EAST OF EVERYTHING
VISIONARRI
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29
VISIONARRI
A THOUSAND YEARS
OF GOOD PRAYERS
I NO LONGER STRIVE TO
CONTROL AND PERFECT
EVERYTHING. INSTEAD IVE
LEARNED TO USE WHAT IS
REALLY IN FRONT OF ME AND
MAKE IT SERVE MY ULTIMATE
GOAL FOR THE FILM.
WW:
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30
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VISIONARRI
A Symphony of Soloists
The ARRIFLEX D-20 captures performances from 150 separate musicians
for Sonys latest WALKMAN commercial.
VA:
WW:
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32
WW:
VA:
VA:
Is it inspiring to work in
Europe for you or is it a burden
to travel so far for postproduction?
VA:
VA:
Andrea Oki
Once a centre-point of Victorian Londons social scene, the 2000-capacity theatre within
Alexandra Palace, unseen by the public for more than 65 years, is a crumbling vestige
of its past. Scheduled for restoration, the theatre is in such a magnificent state of
disrepair that it resembles an elaborately designed set, which is the very reason it has
been selected as the location for a new commercial advertising Sonys next generation
of WALKMAN digital media players.
Standing amid the faded grandeur, DoP Antonio
Paladino explains the concept of the shoot: We have
150 musicians and our assignment is to film every one
of them playing one single note. Theyre all individual
musicians and were playing together for the first time
on our first shooting day; it wasnt at all clear
whether or not theyd actually be able to play this
piece of music but theyve pulled it off really well.
Produced by production house Academy for
advertising agency Fallon, the commercial was slated
as an HD shoot at an early stage due to uncertainty
about how much material would have to be shot in
order to get adequate coverage. Paladino opted to
shoot with Cooke S4 lenses on two ARRIFLEX D-20s,
having used the film-style digital camera for the first
time only weeks before, on another commercial.
Equipment was supplied by ARRI Media in London.
Despite its dilapidation, the theatre is a listed and
therefore protected building, so the crew were unable
to hang a lighting grid from the ceiling, nor even put a
single nail in a wall. Were using helium balloons,
says Paladino. 8kW tungsten tubes - three for the main
hall and one for the stage; theyre on strings so we can
move them around and angle them. The practical bulbs
that are strung around the hall were already there. We
33
VISIONARRI
34
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VISIONARRI
Rob Hardy:
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RH:
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Michelle Smith
DOP ROB HARDY at the camera on location
37
VISIONARRI
Mongol
The Early Years of Genghis Khan
MONGOL
VISIONARRI
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41
VISIONARRI
Copacabana
The postproduction experts at ARRI in Munich have supported many
prestigious national and international film and television projects,
guiding them through the various stages of production. For Xaver
Schwarzenbergers most recent television drama Copacabana, their
expertise was put to use combining traditional film techniques with
digital technology.
A native of Vienna, Xaver Schwarzenberger is among the most versatile and sought-after
filmmakers in the German-speaking world. His large body of work as a DoP includes
many of Rainer Werner Fassbinders films, such as Berlin Alexanderplatz, Lola, Lili
Marleen, Querelle and Die Sehnsucht der Veronika Voss, as well as the box-office hits
Schtonk! and the Otto films. In recent years he has worked increasingly in television, on
productions including Andreas Hofer Die Freiheit des Adlers, Eine Liebe in Afrika,
Annas Heimkehr and Margarete Steiff. Though he started out as a DoP,
Schwarzenberger now works exclusively in the dual role of director/DoP. To him,
cinematography and directing are inextricably linked; he considers his work behind the
camera to be but one aspect of his responsibilities as a director.
In the 1990s Schwarzenberger began his collaboration with the editor Helga Borsche,
who won the Bundesfilmpreis in 1984 for her work on Ediths Tagebuch and has over
several decades cut film and television productions for notable directors such as Hans
W. Geiendrfer and Mika Kaurismki.
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43
VISIONARRI
SEVEN
DAYS
SUNDAY
The challenge of
combining HD and Super
35mm in the DI Process.
THE LEADING
ACTORS
Ludwig Trepte and
Martin Kiefer
Niels Lauperts feature film Seven Days Sunday premiered on June 23, 2007 at the
25th Munich Film Festival, where Laupert, an HFF film school graduate, received the first
annual Mentor Award. The film, which tells the true story of two juvenile murderers,
was produced by fellow HFF graduates Thomas Bartl and Alex Dierbach. Another HFF
student, Anne Brger, assisted DoP Christoph Dammast for the second half of the shoot.
Writer/Director Niels Laupert based the film, which is his first feature, on an idea he got in 2000 after
reading an article in one of Germanys leading newspapers, Sddeutsche Zeitung: The article talked
about two 16-year-old Polish boys who, on a Sunday in January 1996, made a bet to kill a man the very
same day, he recalls. Later that night, they attempted to carry out their bet, but the first man they came
across survived their attack. They went on, having learned from the first incident, to attack a second man
and this time succeeded in killing him. The two adolescents were tried as adults and sentenced to 25 years
of imprisonment.
The article shocked me, Laupert continues. But at the same time I couldnt stop thinking about this
incident. How could it have happened? Why did all natural inhibitions fail? I knew from the outset that I
didnt want to make an intellectual film about the issues raised by this tragedy. First and foremost I wanted
to tell a story, utilizing all the available creative and technological possibilities. It was important to me to
include the environment and surroundings of the protagonists and therefore we didnt want to limit the story
by cutting together a series of close-ups. Thats why Super 35mm was our first choice and why we decided
to go with the 2.35:1 format.
CHECKING A SHOT: Director Niels Laupert, DoP Christop Dammast,
Theresa Luther, Gaffer Oliver Menebrcker, 1st AC Korkut Akir (left to right)
1ST AC KORKUT AKIR
44
Filming was split into two stages and centred around a high-rise apartment complex in a neighbourhood of
Leipzig called Grnau, which looked very similar to the real crime scene in Poland. The filming of the first
stage commenced in January of 2005, says Laupert. ARRI Rental in Munich provided the ARRIFLEX 535
and Zeiss Ultra Prime lenses for the shoot, while lighting and stage equipment came from ARRI Rental in
Berlin. We shot on Fuji 250D and 500T film stocks. The second part of the filming started in May 2006
and for that we used an ARRICAM LITE. Additional footage, documentary footage and taped interviews
with the convicts needed to be shot as well. It took several attempts to establish contacts in Poland; we had
to make numerous requests before the convicted felons agreed to be interviewed and the Polish authorities
granted us filming permits.
45
VISIONARRI
Side Effect
Set amidst the sordid underworld of drugs in London, Side Effect is a ten-minute short film written and directed
by Mark Fortune. Entirely self-financed, the low-budget project was sponsored by ARRI Lighting Rental, where
Fortune trained as a Lighting Technician, and ARRI Media, where cinematographer Stephen J. Nelson works as
Camera Technician Trainer.
I suppose the initial impetus to make it came from Steve, says Fortune. We bumped into each other and got
talking. He knew Id made a film a few years ago and suggested I make another, explaining that with all the
new media packages like Final Cut Pro and also the new generation of cameras, you can affordably achieve
quite a high level of autonomy.
Having been convinced that the advance of prosumer technologies could maximise directorial control even
with a minimal budget, Fortune revived Side Effect, a script he had already tried to film once before. Steve
and I talked about the visual approach, he says. I like for things to be natural; for any light that is used to
have a reason for being there. I went to drama college myself so am very keen to serve the actors. One of the
high points of Side Effect is the acting; Nick Tennant as the lead gives a superb performance and the whole
cast are very strong. I like to let the camera roll, though Im not a big fan of improvisation, so prefer the actors
to find the freshness within a structure.
WRITER AND DIRECTOR, MARK FORTUNE (top)
46
47
VISIONARRI
48
VISIONARRI
DOP JOST VACANO in the submarine set on Das Boot with a purpose built gyro-rig and prototype IIIC.
First Assistant Peter Maiwald holds the remote focus unit (1981)
GRAHAM HILL films a training lap with an ARRIFLEX 16ST mounted on the car (1952)
ARRI DEVELOPED its largest lamphead so far, the ARRI GIGANT 20kW (1952)
51
VISIONARRI
25 Years of
ARRI Film & TV
In November 1982 ARRI gained a new subsidiary with the creation of ARRI
Video GmbH, the postproduction department of the ARRI Group, which now
operates under the name of ARRI Film & TV Services GmbH. Managing Director
Franz Kraus recalls the company's first steps, its development and prospects.
FK:
52
1984
FRANZ KRAUS,
General Manager
ARRI Film & TV
1985
1988
1993
FK:
POSTPRODUCTION
with GVG 300-Mixer,
1986
53
1995
1993
FK: Cinetechnik was never the appropriate home for the sound
department and the film laboratory. Both divisions had, and
have, a very different clientele compared to Cinetechnik, so in
1992 it was decided to integrate the sound department at book
value into ARRI TV. To this day, the sound department remains
an integral part of the company. In 2002 the film laboratory
was also amalgamated into ARRI TV, after which the new entity
was named ARRI Film & TV. We always intended to combine
digital and analogue technologies. The ARRISCAN and
ARRILASER were to become integral parts of the film laboratory.
In addition, this was a fantastic opportunity to continue the
training of our competent film laboratory staff. They were
already very familiar with the analogue technologies and were
eager to learn more about the new digital technologies.
VA:
VA:
FOCUS: Since 1995, ARRI has regularly been entrusted with the
postproduction of the Hager Moss produced spot
EXPO 2000: Elaborate postproduction for Producer/Director Josef Klugers
film for the German Pavilion
ZDF MONDAY CINEMA: Has been an eye catcher for many years
54
VISIONARRI
1997
1997
2001
2003
2006
FK:
2007
better for the years to come and have already begun this
process by acquiring Schwarz Film AG in Switzerland.
As a result we now have additional film laboratories and
postproduction facilities in Berlin and Bern, as well as smaller
facilities in Zurich and Ludwigsburg. This has been a major
step towards becoming even more flexible when it comes to
servicing productions. This will also be an opportunity to reach
past the borders of Germany and attract additional
international productions.
The tasks for the future will include quickly and entirely
switching the TV and commercial divisions to HD and
replacing the photochemical film laboratory with a creatively
and technologically superior digital high-resolution
postproduction process (DI). Also, in the future, the delivery
format for TV will be HD and for feature films, 4K.
An additional challenge will be to further interface the rental
and the postproduction services to accommodate the
increasing number of digitally-shot productions, which will also
be finished digitally. The shift to digital production will pose
new challenges that the service providers have to meet.
We want to be prepared for this change. I
STATE-OF-THE-ART TECHNOLOGY AT
ARRI SCHWARZFILM BERLIN GMBH
In late 2006, ARRI Film & TV
Services acquired Schwarz Film
Berlin Postproduction GmbH.
The new entity, now called ARRI
Schwarzfilm Berlin GmbH, greatly
benefits from the vast experience
and extensive know-how of its
general managers, Philipp
Tschppt and Josef Reidinger, and
has proved a tremendous success.
Now boasting one of the largest grading
cinemas in Europe, ARRI Schwarzfilm
Berlin has successfully completed its
transition from a film laboratory focused
predominantly on television productions to
a full-service postproduction house
equipped with the latest technology.
ARRIs leading position in the world of
SCHWARZFILM
film and television postproduction, with
regards to film processing and the Digital
Intermediate process, has been invaluable
during the reorganisation of the company.
In Germany, both national and
international high-end films are for the
most part shot in Berlin and its surrounding
areas. ARRI Schwarzfilm Berlin can now
offer optimal conditions for the completion
of these highly ambitious projects, not only
because of its convenient location but also
because of its expanded service portfolio
and considerably enlarged facilities. The
highly qualified workforce is well-versed
in analogue as well as digital
postproduction and works with state-ofthe-art technology to provide an allencompassing support structure. I
55
VISIONARRI
MOMENTS
IN TIME
THE MAN
FROM U.N.C.L.E.
MOMENTS IN TIME
VISIONARRI
Panalight
ARRI Rental Partner in Romania
The owners of Panalight Italy had considered setting up a rental facility
in Romania ever since supplying equipment for Cold Mountain, which shot
there in 2003. Since that time, the country has become increasingly popular
with international filmmakers, prompting Panalight to build contacts with
local technicians and pave the way for the opening of a new outlet.
A PRESENTATION
of the Technocrane
Dylan Michael
59
VISIONARRI
60
61
Like the two preceding films in the Dollars Trilogy, The Good,
the Bad and the Ugly was shot using Techniscope, a 2 perforation
widescreen format that offered a cheaper alternative to the
considerable cost of anamorphic production of the time.
Some actors spoke in English during filming while the rest spoke
in their native language, mostly Italian and Spanish, which was
later dubbed into English.
10
Iain Struthers
First Assistant Camera
His other most recent credits include Wild Child with DoP
Chris Seager BSC, with DoP Gavin Finney BSC, and before
that with Alan Stewart Second Unit DoP on Inkheart Fred
Claus and The Golden Age.
1
Shot at various locations in the UK, the films
most impressive set was an abandoned
1930s gasworks in Beckton. Scheduled for
demolition, British Gas allowed the site to
be transformed into the bombed-out city of
Hue. Charges were laid by a demolition
team and then one Sunday British Gas
executives brought their families down to
see the place blown up. The ruins were then
dressed to complete the effect, including
palm trees brought in from Spain and one
hundred thousand plastic tropical plants
from Hong Kong.
More than 1800 Hobbit feet were produced. Each pair would
take over an hour to apply and could only be used once as
there was no way of removing the feet at the end of the day
without damaging them. They were all shredded after use in
order to prevent a black market in stolen Hobbit feet.
It is common practice to have two units shooting at any one
time, but during filming of The Lord of the Rings Trilogy there
were occasions when there were up to nine units operating at
any given time. This meant there would often be between three
to five hours of dailies to review.
CEO BJRN BLIXT
62
Take
Did you
Know
2
3
4
5
6
7
8
9
63
VISIONARRI
PRODUCT
UPDATE
64
65
ARRI CSC
PRODUCTION UPDATE
Title
ARRI RENTAL
Title
Production Company
Director
DoP
Anonyma
Max Frberbck
Benedict Neuenfels
Body of Lies
Ridley Scott
Gigapix Studios
Constantin Film Produktion
Armin Matalqa
Uli Edel
SamFilm
Joachim Masannek
Stefan Ruzowitzky
Inhabited Island
Fedor Bondarchuk
Pro GmbH
United Artists / Sony
Arne Feldhusen
Bryan Singer
Speed Racer
Andy Wachowski
Larry Wachowski
Andrew Adamson
Equipment
ARRI AUSTRALIA
Title
Production Company
Director
DoP
Equipment
McLeods Daughters
- Series 8
East of Everything
- Series 1
Virgin Blue
The Pacific
Millennium Television
Various
Stuart MacDonald
Matthew Saville
Hamish Rothwell
Tim Van Patten
Carl Franklin
Lee Rogers
Simon Bookallil
Nicholas Reynolds
Scott Pickett
Matt Murphy
Hamish Rothwell
Alex Holmes
John Stokes,
Kim Batterham
Brendan Lavelle
Westfield
Visa BoPo
Hutchinson 3
Shot Open
Landcruiser
Foxtel
The Ball
Jac Fitzgerald
Remi Adefarasin
Tristan Milani
Tristan Milani
Tristan Milani
Greg de Marigny
Nigel Bluck
Jac Fitzgerald
Geoffrey Simpson
Production Company
Director
DoP
Gaffer
Hagen Bogdanski
Gyula Pados
David Higgs
Dick Pope BSC
Jimmy Wilson
Ian Franklin
John Colley
Vince Madden
Dan Fontaine
John Walker
Matthew Moffatt
Primeval 2
Impossible Pictures
The Mob Film Company
Adam Suchitzky
Graham Frake
Chris Hartley
Gavin Finny BSC
Stewart King
The Colour
of Magic
Ashes To Ashes
Jamie Paine
Andrew Gunn
Nick Murphy
Vadim Jean
Ashes
Johnny Campbell
Billie Eltringham
Dan Fontaine,
John Walker
Mike Parsons,
Andy Bell
Echo Beach
Tom Gates
Toby Flesher
Moving
Wallpaper
MI High
Miss Austen
Regrets
Holby Blue 2
Jennifer Perrott
Beryl Richards
Andrew Gillman
Julian Court
Nick Laws
Simon Archer
John Daly BSC
Ian Leggitt
Jo Allen
Simon Hook
Jeremy Lovering
Stephan Pehrsson
David Katznelson
Haydn Boniface
Otto Stenov
Carolina
Schmidtholstein
Gavin Ogden
Wayne Mansell
Ian Leggitt
Jo Allen
The Fixer
Fixer
Sarah OGorman
Toby Haynes
Alrick Riley
John Strickland
Diarmuid Lawrence
Vojek Sheper
Mark Clayton
Kevin Rowley
Micky Brown
Terry Hunt
Steve Cortie
Mark Funnell
Andy Cole
Andy Bell
Kevin
Fitzpatrick
Steve Anthony
Terry Robb
Carolina
Schmidtholstein
Benny Harper
John Attwood/
Dave Owen
Published by the ARRI Rental Group Marketing Department. 3 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX United Kingdom
The opinions expressed by individuals quoted in articles in VisionARRI do not necessarily represent those of the ARRI Rental Group or the Editors. Due to 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.
66
ASC
Gaffer
Equipment
Serviced by
Oscar Dominguez
2 x ARRIFLEX D-20
Automated Lighting
ARRI CSC FL
Illumination Dynamics
2 x ARRICAM Lite
Lighting & Grip
3 x ARRIFLEX 416
Lighting
2 x ARRIFLEX 416
ARRICAM Studio & Lite
Lighting & Grip
Lighting
ARRICAM Studio & Lite
Lighting & Grip
ARRICAM Studio & Lite
2 x ARRIFLEX D-20
ARRI CSC NY
Bill OLeary
Canterburys Law
Kid Nation
New Amsterdam
Righteous Kill
Topanga Prods.
Mountain Air Films
New Amsterdam Prods.
Righteous Prods. LLC
Tom Houghton
Daryl Studebaker
Michael Slovis
Denis Lenoir ASC
She Lived
Six Wives of
Henry Laffey
The Sophomore
Welcome to
Academia
What Happens
In Vegas
Sharone Meir
Nancy Schreiber ASC
Iggy Scarpitti
M. David Mullen
David Dunlap
ASC
Kevin Janicelli
Matthew Leonetti
ASC
Andrew Day
Oscar Dominguez
Elan Yaari
ARRI CSC NY
Illumination Dynamics
ARRI CSC NY
ARRI CSC NY
Illumination Dynamics
ARRI CSC NY
ARRI CSC NY
ARRI CSC NY
ARRI CSC NY
Production Company
Director
DoP
Services
Anonyma
Clara
Der Baader Meinhof Komplex
Alle Anderen
Die Frauen des Anarchisten
Die Welle
Die wilden Kerle 5
Der Schattensucher
Effi Briest
Feuerherz
Freche Mdchen
Hexe Lilli
John Rabe
Palermo Shooting
Rubicon
The International
The Reader
Max Frberbck
Helma Sanders-Brahms
Uli Edel
Maren Ade
Marie Nolle, Peter Sehr
Dennis Gansel
Joachim Masannek
Benedict Neuenfels
Jrgen Jrges
Rainer Klausmann
Bernhard Keller
Jean Francois Robin
Torsten Breuer
Benjamin Dernbecher
Hermine Huntgeburth
Luigi Falorni
Ute Wieland
Stefan Ruzowitzky
Florian Gallenberger
Wim Wenders
Bryan Singer
Tom Tykwer
Stephen Daldry
Martin Langer
Judith Kaufmann
Peter Przybylski
Peter von Haller
Jrgen Jrges
Franz Lustig
Newton Thomas Sigel
Frank Griebe
Roger Deakins
Title
Production Company
Agency
Director
DoP
Cortal Consors
Stier
Mazda Motors Europe Mazda2 Competition
Serviceplan Zweite WA
JWT Dsseldorf
Paula Walker
Rolf Kestermann
McDonalds
Martin Haerlin
Sven Ltzenkirchen
Martin Haerlin
Sven Ltzenkirchen
PLAYMOBIL
Williams
Wagner Pizza
Ferrero
ING DiBa
Caotina
Brand 2007
Unterhaltung mit Heidi
Brand 2007 Mundvoll,
Pommes, Freundinnen,
Langeweile, Mnze
Herbst 2007
Formula 1 Branding
Durchreiche
Kinder
Markenfilm
Lippenbekenntnis
WIN WIN
Calgonit
Zweifel Chips
Saturn
Mller Milch
winwin.de
Tab-Regen
Cractiv
LED Berlin
Verkostung
McDonalds
e+p commercial
R.TV Film & Fernsehen
Laszlo Kadar
Helliventures
GAP
Rapid Eye Movement
e+p commercial
GAP
Made in Munich
ARRI MEDIA
Reiner Holzemer
Peter Aichholzer
Tobias Heppermann Thomas Stokowski
Laszlo Kadar
Laszlo Kadar
Joachim Hellinger
Ivo Mostertman
Dieter Deventer
Jean Paul Seresin
Lili Clemens
Gerhard Hirsch
Nic & Sune
Gerhard Hirsch
Richard Mott
Plot: Michael
Hornung - Food:
David Wynn-Jones
Title
Production Company
Director
DoP
Equipment
Hagen Bogdanski
Rob Kitzmann
Kevin Rowley
Mark Wolf
Owen McPolin
Mike Southon BSC
David Higgs
Peter Wignall
Gavin Finney BSC
Chris Seager BSC
Various
Mary McGuckian
Declan Rechs
Andrei Konchalovsky
Guy Ritchie
Nick Moran
Vadim Jean
Nick Moore
67