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10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 1

12/12 ISSUE 14

VisionARRI

The Biannual International Magazine from the ARRI RENTAL & POSTPRODUCTION ENTERPRISES

Roger Deakins, ASC, BSC, discusses shooting with


ALEXA Studio cameras on the new James Bond film

Cloud Atlas
Interview with filmmakers Lana and
Andy Wachowski and Tom Tykwer

Les Misrables

Danny Cohen, BSC, on filming


Tom Hoopers big screen adaptation
of the global stage sensation

Master Anamorphics

New ARRI/ZEISS Master Anamorphic


lenses: the future of widescreen

ARRI M90/60

Lensless MAX Technology in a whole


new 9K power class

10729 Vision ARRI 14 AW5_A4 15/11/2012 12:01 Page 2

ARRI SERVICES GROUP NETWORK


ARRI SUBSIDIARIES
AUSTRALIA
ARRI Australia, Sydney
Cameras
Stefan Sedlmeier
T +61 2 9855 4300
ssedlmeier@arri.com.au
AUSTRIA
ARRI Rental Vienna
Cameras
Andreas Buchschachner
T +43 189 201 07 18
rental@arri.at

ARRI Mitte, Berlin


Motion Graphics, DI, 3D
Wolf Bosse
T +49 30 726 267 0
wbosse@arri.de
ARRI Film & TV Services,
Cologne
DI, TV Postproduction, Sound
Markus Klaff
T +49 221 57165 120
mklaff@arri.de
ARRI Film & TV Services,
Halle (Saale)
Digital Dailies, DI, TV
Postproduction, VFX, Sound
Steffen Scheid
T +49 345 68 58 68 71
sscheid@arri.de

USA
ARRI CSC, New Jersey
Cameras, Lighting, Grip
Hardwrick Johnson,
Lynn Gustafson
T +1 212 757 0906
hjohnson@arricsc.com
gus@arricsc.com

INDIA
Anand Cine Service,
Chennai
Cameras, Lighting, Grip,
Film Lab, DI
Tarun Kumar
T: +91 44 4598 0101
contact@anandcine.com

ARRI CSC, Florida


Cameras, Lighting, Grip
Ed Stamm
T +1 954 322 4545
estamm@arricsc.com

JAPAN
NAC Image Technology,
Tokyo
Cameras
Tomofumi Masuda
Hiromi Shindome
T +81 3 5211 7960
masuda@camnac.co.jp

Illumination Dynamics, LA
Lighting, Grip
Carly Barber, Maria Carpenter
T +1 818 686 6400
carly@illuminationdynamics.com NEW ZEALAND
maria@illuminationdynamics.com Camera Tech, Wellington
Schwarz Film,
Ludwigsburg
Cameras
Illumination Dynamics,
Film Lab, DI, TV Postproduction North Carolina,
GERMANY
Peter Fleming
Alexander Barthel
T +64 4562 8814
Cameras, Lighting, Grip
ARRI Rental Berlin
T +49 89 3809 1594
cameratech@xtra.co.nz
Cameras, Lighting, Grip
Jeff Pentek
abarthel@arri.de
T +1 704 679 9400
Ute Baron
Xytech Technologies,
jeff@illuminationdynamics.com Auckland
T +49 30 346 800 0
HUNGARY
ubaron@arri.de
Lighting
ARRI Rental Budapest
Stephen Pryor
ARRI Rental Cologne
Cameras, Grip
ARRI PARTNERS
T +64 9 377 99 85
Cameras, Lighting, Grip
Clemens Danzer
stephenp@xytech.co.nz
Stefan Martini
T +36 1 5500 420
AUSTRALIA
T +49 221 170 6724
cdanzer@arri.de
ROMANIA
Cameraquip,
smartini@arri.de
Melbourne,
Brisbane
Panalight Studio, Bucharest
LUXEMBOURG
ARRI Rental Hamburg
Cameras
Cameras, Lighting, Grip
ARRI Rental Luxembourg
Cameras, Lighting, Grip
Malcolm
Richards
Diana Apostol
Cameras
Martin Fischer
T +61 3 9699 3922
T +40 727 358 304
Steffen Ditter
T +49 40 8080 486 0
T +61 7 3844 9577
office@panalight.ro
T +352 2670 1270
mfischer2@arri.de
rentals@cameraquip.com.au
sditter@arri.de
SOUTH AFRICA
ARRI Rental Leipzig
CYPRUS
Cameras, Lighting, Grip
Media Film Service,
UNITED KINGDOM
Seahorse Films,
Cape Town, Johannesburg,
Annerose Schulze
ARRI Lighting Rental,
Nicosia, Paphos
Durban, Namibia
T + 49 341 3500 3561
London
Cameras, Lighting,
Cameras, Lighting,
aschulze@arri.de
Lighting
Grip, Studio
Grip, Studio
ARRI Rental Munich
Tommy Moran
Andros
Achilleos
Jannie van Wyk
Cameras, Lighting, Grip
T +44 1895 457 200
T +357 9967 5013
T +27 21 511 3300
tmoran@arrirental.com
Thomas Loher
andros@seahorsefilms.com
jannie@mediafilmservice.com
T +49 89 3809 1440
ARRI Focus, London
tloher@arri.de
GERMANY
UNITED ARAB EMIRATES
Short term lighting hire
for commercials & promos
ARRI Film & TV Services,
Maddels Cameras,
Filmquip Media, Dubai
Munich
Cameras, Lighting, Grip
Martin Maund, George Martin Hamburg
Film Lab, DI, TV Postproduction, T +44 1895 810 000
Cameras, Grip
Anthony Smythe, Aaron
VFX, Sound, Studio, Cinema
martin@arrifocus.com
Matthias Neumann
Hughes
george@arrifocus.com
Angela Reedwisch
T +49 40 66 86 390
T +971 4 439 0610
T +49 89 3809 1574
info@maddels.com
ant.smythe@filmquipmedia.co
ARRI Media, London
areedwisch@arri.de
m aaron@filmquipmedia.com
Cameras, Grip
HUNGARY
ARRI Film & TV Services,
Russell Allen
VisionTeam L.O., Budapest
Berlin
T +44 1895 457 100
Cameras, Lighting, Grip
Film Lab, DI, TV Postproduction, rallen@arrimedia.com
VFX, Sound
Gabor Rajna
ARRI Crew, London
T +36 1 433 3911
Mandy Rahn
Diary Service
info@visionteam-lo.hu
T +49 30 408 17 8534
Kate Collier
mrahn@arri.de
T +44 1895 457 180
ICELAND
arricrew@arrimedia.com
Pegasus Pictures, Reykjavik
Cameras, Lighting, Grip
Snorri Thorisson
T +354 414 2000
snorri@pegasus.is
CZECH REPUBLIC
ARRI Rental Prague
Cameras, Lighting, Grip
Mirek Obrman
T +420 234 707 502
mobrman@arri.de

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 3

VISIONARRI

4 ALEXA MEETS BOND

14 DREAMING THE DREAM

Roger Deakins, ASC, BSC, on shooting the latest


Bond instalment with ALEXA Studio cameras

Danny Cohen, BSC, talks about filming the


highly-anticipated big screen adaptation of
Les Misrables

8 CLOUD ATLAS

18 A NEW ERA FOR ANAMORPHIC

The Wachowskis and Tom Tykwer discuss their


epic science fiction film

New ARRI/ZEISS Master Anamorphic lenses

12 CLOUD ATLAS:

20 RUBINOT

A PRODUCERS PERSPECTIVE

ARRI creates VFX for eagerly awaited screen


adaptation of popular teen fantasy novel

Stefan Arndt discusses producing Cloud Atlas


and working with ARRI

23 ALEXA: LATEST NEWS

Software Update Packet (SUP) 7.0

CONTENTS

24 THE SMALLEST BIGGEST


LIGHT ON SET

ARRI M90/60: a new fixture with


MAX Technology

26 THE BLETCHLEY CIRCLE

John Pardue sets the tone for a period


crime drama with ALEXA

28 MOVING IMAGES IN

THREE-DIMENSIONAL SPACE
ARRI Commercial and partner lucie_p on
creating moving images for the world of
brand communication

32 INNOCENCE

Low-budget vampire feature adopts on-set


system to deliver same-day dailies

20

34 BRIGHTER COOLER SMALLER


Latest additions to the LED-based L-Series

35 GO WIRELESS

New Wireless Remote System components

14

36 ARRI MEDIA SERVICES:


PROJECTS & PEOPLE

46 PRODUCTION UPDATE

VisionARRI would like to thank the following contributors:


Susanne Bieger, Mark Hope-Jones, Ingo Klingspon, Wendy Mattock, Judith Petty
Angela Reedwisch, Jrgen Schopper, Michelle Smith, Brigitte Wehner, Sabine Welte
Front Cover Photo: SKYFALL 2012 Danjaq, United Artists, CPII. 007 and related James Bond Trademarks,TM Danjaq.

SKYFALL 2012 Danjaq, United Artists, CPII. 007 and related James Bond Trademarks, TM Danjaq.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 4

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 5

VISIONARRI

ALEXA
MEETS
BOND
Roger Deakins, ASC, BSC, shoots with
prototype ALEXA Studio cameras on the
new James Bond film
Skyfall, the new James Bond film, is already setting
box office records after debuting in 25 markets; in
the UK it enjoyed the best ever opening weekend
for a Bond movie, taking more than $32 million.
The decision to make Skyfall the first in the franchise
to be released in IMAX theaters has already proved
hugely successful it took $3.5 million in 79
locations over 15 territories, averaging $45,000
per screen. That represents the best international
non-summer/non-holiday opening in IMAX history.
Upping the ante in its strategy of recruiting top filmmaking talent for
the latest James Bond films, EON Productions secured the services of
celebrated director Sam Mendes and legendary cinematographer
Roger Deakins, ASC, BSC, for its 23rd official 007 adventure, Skyfall.
Not only is Skyfall the first movie in the franchise to be shot digitally,
as well as Mendes first digital experience, it is the first production
anywhere to make use of ALEXA Studio cameras, which were supplied
alongside ALEXA Plus and M models by ARRI Media in London.
Deakins recently spoke with VisionARRI about his work on the film.
How did you come to choose the ALEXA system
for Skyfall?

VisionARRI:

Roger Deakins: I first used the ALEXA on In Time (2011) and on that
film I had a huge amount of night exteriors, so I needed a camera with
speed and versatility. I did side-by-side testing and found that there was
so much more latitude in the file from the ALEXA than in a 4K scan of
a film negative. I was also drawn to the subtle fall-off to highlights and
the enormous amount of detail in the shadows. It was the first digital
camera I had seen where I thought the technology had crossed the
knife edge and taken us into a new world.

I knew we would also have a lot of low-light scenes on Skyfall,


so I said to Sam that he should look at what I did on In Time.
I told him just to look at the actors eyes and I think the clarity of
their eyes is probably what swayed him more than anything else.
For me theres just a snap to the eyes that you dont get with film.
5

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 6

ALEXA MEETS BOND

VA: Once Sam had accepted the idea of shooting


digitally, were there other advantages?

on a low budget movie, because everything is locked into a


particular day and moment to shoot.

RD: Being able to shoot more than one or two takes without
having to reload was quite an advantage. Not that Sam shoots
a huge number of takes in one go, but sometimes he would
roll the camera for two or three, which I quite liked doing,
because once Im into a shot I dont like breaking the
concentration either.

VA: You had the first prototypes of the ALEXA Studio


camera. Why was it important for you to have an
optical viewfinder?

Josh Gollish, our DIT, gave Sam a monitor that was as close to
being color calibrated as possible, which I hope gave him a
sense of confidence because there were a lot of big sets and
the lighting was quite crucial in a lot of situations. It made me
feel more confident, thats for sure!
VA: So you enjoy having such high quality monitor
images on set?
RD: To me the great plus is that it takes away all the uncertainty
in those conversations about how the director wants the image
to look. Even if someone says they want a silhouette, people
have different ideas about what a silhouette actually is; now
you can look at a monitor and say, Thats what were
shooting. Its a great tool, and it means that even more than
before I want to do as much in-camera to make that monitor
image look as close to what well end up with as I can.
VA: Did you spend much time looking at a
waveform monitor?
RD: Now and again I looked at the waveform, but that was
more useful on exteriors and places where I felt that there
werent the ideal conditions I wanted to shoot in. I would look
at the waveform and decide on a point where I would be able
to adjust the image later in the DI and get it closer to what
I wanted it to be. Its interesting that on these high budget
movies youve got less flexibility, in a way, than youd have

RD: I think part of it is your history and what youve been


brought up with. I just like the clarity of the image in the
optical viewfinder and seeing exactly whats in front of me,
because thats how I light. The most important thing to me is
watching an actors face and how the light falls on that face.
You just cant do that with an electronic viewfinder yet. Its true
that the Studio cameras we had were only prototypes but they
were flawless, we didnt have any problems with them at all.
VA: You also had the ALEXA M and ALEXA Plus
models. Were you often shooting with
multiple cameras?
RD:

There was a lot of variety; probably most of the film was


shot with only one camera, as though we were doing a regular
drama, but then there were other scenes with many more, for
example we had 11 cameras filming one big stunt of a train
crashing through a ceiling. On the whole, though, I think the
Skyfall production people were surprised by how little equipment
we needed on a day-to-day basis, because I like to work that
way to downscale and simplify things as much as possible.

VA: You worked with Master Primes, as you often


have before. Did they perform the same for digital
as they do for film?
RD: The performance seems very much the same. I first tried the
Master Primes on No Country for Old Men (2007) and Ive
used them ever since. I was thinking about why you would
need such fast lenses when the ALEXA itself is so fast, but a lot
of the night scenes on In Time were shot virtually wide open

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 7

VISIONARRI
ON SET: Sam Mendes and Roger Deakins, ASC, BSC, frame a shot with the ALEXA (left to right)

I JUST LIKE
THE CLARITY
OF THE IMAGE
IN THE OPTICAL
VIEWFINDER
AND SEEING
EXACTLY
WHATS IN
FRONT OF ME,
BECAUSE
THATS HOW
I LIGHT.
with the Master Primes and we did the same thing on Skyfall.
I use them because theyre the fastest, cleanest lenses that Ive
come across. I always shoot on prime lenses rather than a zoom;
I dislike zooms unless they are actually being used as a zoom.
VA: Was ALEXA helpful for the visual effects
elements in Skyfall?
RD: That was interesting because Steve, our visual effects
supervisor, had never shot digitally and wanted to shoot on
film. Hed seen another digital camera on a previous job and
hadnt been impressed, but when I told him we were shooting
with the ALEXA he said hed go and do some tests with
landscapes, explosions and everything else. When he came
back to me he said, Im going to shoot absolutely everything

on the ALEXA, so he was really impressed. All the plates and


VFX elements were done with the camera and it all looks great.
VA: How significant was the fact that Skyfall was to
be released in IMAX theaters?
RD: I didnt know that we were going to release on IMAX until
after we made the decision to shoot with the ALEXA. We had
also made the decision to shoot spherical and take a 2.40:1
extraction, so I was a little bit nervous when the IMAX issue
came up. We did some tests straight away and in the first set
the colors didnt look great. We then found out that IMAX have
their own system of conversion, which they call enhancement,
so we tried another test without using that system and I thought
the images looked spectacular on the big IMAX screen.
Mark Hope-Jones

Cloud
Atlas

10729 Vision ARRI 14 AW_A4 16/11/2012 14:40 Page 8

The Wachowskis and Tom Tykwer count on ARRI to


tell a visually stunning tale of epic proportions

Based on David Mitchells complex 2004 novel of the same name, Cloud Atlas has
been adapted for the big screen by acclaimed filmmakers Andy and Lana Wachowski
(Matrix Trilogy) and Tom Tykwer (Run Lola Run, Perfume: Story of a Murderer).
Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving and Ben Whishaw, as well as
Susan Sarandon and Hugh Grant play multiple character roles in a story that takes place
over the course of 500 years in different corners of the world. Shot by cinematographers
Frank Griebe and John Toll, ASC, Cloud Atlas was filmed with a vast package of camera,
lighting and grip equipment supplied by ARRI Rental Berlin. Postproduction was handled
by ARRI Film & TV Services Berlin, with ARRI VFX Munich contributing VFX.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 9

CLOUD ATLAS 2012 X Verleih AG

VISIONARRI

VisionARRI spoke with the films three directors and


producer Grant Hill (Matrix, Tree of Life, Titanic) about
their ambitious undertaking.
Adapting David Mitchells award-winning novel was a
formidable yet welcome challenge for the filmmakers. It was
long considered unsuitable for a screen adaptation due to its
episodic structure, which consists of six separate stories that
take the reader on a journey from the remote South Pacific
in the nineteenth century to a distant, post-apocalyptic future.
Mitchell tells the loosely connected tales chronologically and
interrupts the first five, finishing them in the second half of the
book after the sixth concludes albeit in reverse order so the
reader ends where they started.

THE MASTER PRIMES


ARE VERY PRECISE AND
DELIVER REALLY SHARP
IMAGES WITHOUT
SACRIFICING TEXTURE.
THERES SOMETHING
BEAUTIFUL, A SOFTNESS
THAT DOESNT FEEL
OUT OF FOCUS.

These six stories, the filmmakers agreed, had to be woven into


one coherent yet tightly knit tale. We knew we couldnt do a
literal adaptation of the novel, which is structured more like an
anthology. And although the palindrome-like structure is quite
interesting, we knew we couldnt use it, says Lana, who wrote
the first ten pages of the screenplay before the three filmmakers
got together in Costa Rica to adapt the novel. Hill was thrilled
with the result: The directors came up with a wonderful script
and gave us that unified narrative.
Cloud Atlas was filmed from September through December
2011 at Studio Babelsberg, as well as on location in Scotland,
Spain and Germany. Two units shot simultaneously, with one
under the helm of Tykwer and Griebe and the other under the
direction of the Wachowskis and Toll. Despite the enormous
amount of VFX, the filmmakers decided after conducting
extensive tests at ARRI Rental Berlin to shoot 35 mm with
ARRICAM Studio and Lite cameras. We knew we were

going to use a lot of prosthetics and that the makeup was


going to be quite ambitious, states Lana. Film is just a bit
kinder to human faces, whereas digital is more relentless and
perfect, and we felt that it was the actors who were making the
movie work more than anything else. So we were guided by a
desire to make the actors look as good as we could. We like
digital but we also like film. Theres something beautiful about
film grain that you can never quite fake in digital, something
surprising about the way it works on human faces. And we
liked that the book itself has a love for older forms. So there
was something beautiful about using this older format to tell
this super modern story. Tykwer points out that their decision
also had something to do with the epic quality of the story,
which film seems to reflect better. Plus the nostalgia of film
also played a part in it, says Andy, adding with a laugh,
Were not fundamentalist though.
9

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CLOUD ATLAS

WE WANTED THE AUDIENCE TO SEE


ONE FILM; WE WANTED TO DISSOLVE
BARRIERS, NOT CREATE THEM.
For these reasons the filmmakers also chose lenses from the
ARRI/ZEISS Master Prime series. It had to do with the makeup
demands Lana mentioned, explains Tykwer. The Master
Primes are very precise and deliver really sharp images
without sacrificing texture. Theres something beautiful, a
softness that doesnt feel out of focus. Lana adds: Other
lenses are more rigid in terms of the way the light rounds
objects, and the Master Primes give images a more voluptuous
feel. Tykwer also feels that the Master Primes seemed to be
the most flexible with different faces. But, lenses are also an
instinctive and emotional choice, he says. The Master Primes
were simply the better lenses for what we wanted to do.
The 35 mm footage shot by both units was, for the most part,
processed and RGB color graded at ARRI Film & TV Services
in Berlin before being sent to the editing room. Later the
negative was scanned in 2K and 3K on the ARRISCAN and
color graded on the Lustre (by DI Producer Kenneth Stiller).
Our footage came from two separate sources and at the end
of the day it all had to fit together, says Hill. So we did push
for a little more grading early on. Dailies were made
available to both units on ARRIs Webgate, a secure online
viewing platform, as well as on backup DVDs. You get used
to seeing your dailies on a computer screen and thats all
great, Hill continues, but the moment of truth always comes
when you see the film on the big screen for the first time. Only
then can you be sure that they were technically accurate. Hill
10

was very pleased with the quality of the dailies, which


undergo rigid quality control at ARRI on every production.
During color correction, the challenges had to do with the
productions range, states Hill. We had footage shot on the
top of a ships mast in the middle of the ocean, as well as
footage shot in deep dark forests. We had interiors and
exteriors from several periods. We shot on the sound stage
and in front of the greenscreen. We had a bit of everything.
Its a remarkable job to bring all that into balance. ARRIs
Lead Colorist Traudl Nicholson was present on set in order to
fine-tune the initial parameters, working closely with the DPs
and directors. Color grading entailed two shifts working over
the course of two months in the Lustre suite. The transitions
from one period to another were the most challenging,
reflects Nicholson, especially because of the quick cuts.
The filmmakers decided against defining individual styles
for each period. In the beginning youre tempted to create
different looks, says Lana. We thought about that for a
moment but immediately discarded the idea because it
would break the movie into six different parts. We wanted
the audience to see one film; we wanted to dissolve barriers,
not create them. Her brother points out that the periods are
already defined by their individual genres, of which Cloud
Atlas contains many, including adventure, drama, thriller, sci-fi,
and even farce. It was hard to find the elements that keep this
construction together. Thats why we chose one format (35 mm),

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:32 Page 11

VISIONARRI

you have to create completely new acoustic worlds. Our sound


team created incredible ambient sound, countless details and
elements that repeat throughout, running through the film like
a motif, from scratch. Matthias Lempert and Lars Ginzel
(Harrison MPC with Pro Tools 10.2) were responsible for the
sound mix.
In the beginning the filmmakers discussed dubbing the actors
voices. After all, shouldnt all the characters played by the
same actor or actress sound different? The idea, however, was
quickly discarded. Instead, they decided to slightly alter the
frequencies of the actors voices, a more natural and less
jarring solution. Not just makeup and costumes, but also the
sound of their voices were carefully designed for each
character; they dont just look different, they sound different.

Eric-Charbonneau, X Verleih

The Wachowskis appreciated working with Tykwers score in


postproduction. The German director is known not only for
composing the music for his films, together with Reinhold Heil
and Johnny Klimek, but for doing so prior to shooting. This
was also the case on Cloud Atlas. On each film there comes
the moment when you have to work with a temp score, says
Lana. Its a terrible moment, because the music is never what
you had in mind. Toms approach was a revelation for us.

DIRECTORS Andy Wachowski, Lana Wachowski and Tom Tykwer (left to right)

Andy affirms. So, in addition to the actors playing multiple


parts and content-related connections, the format became
another element weaving the stories into a convincing whole.
Similar parameters were applied during the sound design and
mix. Sound, sound design and the score are important for
every film, but in the case of Cloud Atlas they have an even
greater significance than they normally would: they have to
guide the audience through the film, says Hill. They provide
the through-line, if you will. Supervising Sound Editor Frank
Kruse, who was in charge of the films sound design, came
onboard early and was present on set. During postproduction,
the sound studio was located next door to the editing room.
The physical proximity facilitated the flow of information and
encouraged an active creative exchange, allowing editing or
VFX changes to be quickly passed on to colleagues in sound.
The challenges facing sound postproduction included not only
complex and highly sophisticated chase scenes, but also stark
contrasts and segues from one period to another; sequences
that cut from the South Pacific in 1849 to San Francisco in
1973 and then to the post-apocalyptic world of 2346 illustrate
this problem. The sound team was great, notes Lana. When
youre creating these types of worlds, especially those set in
the distant future and we have two of those in Cloud Atlas

Dominik Trimborn, Head of ARRI VFX, and his team in Munich


have collaborated with Tykwer on numerous occasions and the
collaboration continued on Cloud Atlas. The sheer amount of
VFX shots was enormous and the scope entailed everything
from retouching and compositing to complex 3D animations.
ARRI VFX took on some of these tasks. We are proud to play
in the same league with Method, who were in charge of the
VFX production of Cloud Atlas, and Industrial Light & Magic,
says Trimborn.
It was an incredibly ambitious shoot, not only in terms of the
scope, but also because we were shooting with two teams in
three different countries. Thats why it was especially important
to be able to rely on the equipment, technically as well as
esthetically. We all felt very well taken care of at ARRI,
enthuses Hill, who has shot a number of films with equipment
from ARRI Rental. This time ARRI Film & TV Services Berlin and
ARRI VFX Munich were involved as well. It was incredibly
useful to have Chris Berg, our Postproduction Supervisor, join
us early on. He was the one who developed our integrated
workflow, Hill says. Andy appreciated having everything
located under one roof: At Warner Brothers you have to get
into the car to get from the mixing stage to the DI. Here you
just have to walk a few steps. Lana adds, ARRI was great
to us.
Cloud Atlas premiered on September 8, 2012, at the 37th
Toronto International Film Festival (TIFF), opening in the US
and Canada on October 26. On November 15 the film
was released in Germany and will open in the UK in
February 2013.
Susanne Bieger

11

Copyright: Photos: 2012 Warner Bros. Entertainment, Inc

10729 Vision ARRI 14 AW_A4 16/11/2012 12:20 Page 12

Cloud
Atlas
A Producers Perspective

Stefan Arndt discusses producing Cloud Atlas and working with ARRI
German producer Stefan Arndt and his production company, X Filme, were one of the driving forces
behind the highly anticipated Cloud Atlas, not only when it came to the physical production, but also in
terms of getting the film financed. But their involvement doesnt end there: his companys distribution arm,
X Verleih, is also releasing the film theatrically in Germany.
Arndt produced five films last year with
his production company X Filme, among
them Little Thirteen (director: Christian
Klandt), with a budget of 500,000
Euros, and Cloud Atlas (directors: Andy
and Lana Wachowski, Tom Twyker),
with a budget of 100 million US dollars.
By German standards thats unheard of
not only because of the sheer number of
productions but also, in the case of
Cloud Atlas, because of the size of the
films budget.
The experience of putting the financing
together in Germany for Cloud Atlas as
a positive one all round. Everyone got
on board, even though the project was
rather complicated, Arndt recalls. A lot
of rules had to be observed but, at the
end of the day, we financed the film
independently with only a small
co-production element, making
12

Cloud Atlas a 100% German


production. Everyone from the driver to
the biggest financier of the project
deserves an award. It was a matter of
pride to all those involved to put this film
together. Everyone wanted it to come out
perfect. It was a risky undertaking but
everyone gave their absolute best, not
only the subsidies and Degeto Film, but
also the banks and the lawyers. An
incredible number of people worked on
this project without whom we couldnt
have pulled it off.
Due to both budget constraints
and.aesthetic reasons in regards to
prosthetics and makeup, Cloud Atlas
was shot on film. One hundred million
dollars sounds like a lot of money, says
Arndt. But its only half of what youd
ideally need to do what we wanted to
do. So we had to carefully choose the

best possible format for the massive


digital postproduction effort we had
ahead of us. We tested a lot. Sometimes
I felt we tested more than we shot on
other projects. In the end we just didnt
feel safe with the results we got shooting
digital. Sure, it would have been
cheaper but it involved risks, having to
do with the makeup demands that could
have become costly in postproduction.
The decision turned out to be a good
one. Physical production and
postproduction went off without a hitch.
Luckily we didnt have any problems on
Cloud Atlas. There were other projects
in the past when we had to revisit the
financing and the budgeting. Not so
in the case of Cloud Atlas.
In order to preserve Cloud Atlas for
future generations, the film was archived
as a separation master. This was created

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 13

VISIONARRI

CLOUD ATLAS 2012 X Verleih AG

STEFAN ARNDT

ITS GREAT THAT THERE ARE COMPANIES LIKE ARRI


AND I HOPE THAT THE TRADITION, ENTHUSIASM AND
STANDARD OF QUALITY THAT HAS DEVELOPED THERE
IN THE ANALOG WORLD OVER THE YEARS WILL
CONTINUE TO EXIST IN THE DIGITAL WORLD.
with the ARRILASER by filming out the
final data three times onto black-andwhite film stock, using RGB color
separation. The advantage of black-andwhite material is that it is inert when it
comes to chemical reactions, unlike color
film. The separation master is considered
one of the safest archiving methods
today. At least Im not aware of a
better one, states Arndt.
The future of filmmaking belongs to the
digital realm, Arndt believes, but the
transition, which we are still in the
midst of, brings not only incredible
technological innovations but also a
great deal of uncertainty. Sometimes,
for example, a producer cant help but
wonder how much cheaper digital
productions really are because, for all
the savings, there are also new costs.

While shooting on digital formats


eliminates certain costs, such as for film
stock and lab work, it also creates new
positions, such as data wrangler and
DIT. So how much is a producer really
saving? It wouldnt hurt if the technical
world made more of an effort to shed
some light on such issues, Arndt says,
not just in terms of the financial, but
also the technological changes this
transition entails.
Thats why it was comforting to have
ARRI on board. People such as ARRIs
Sepp Reidinger are like a completion
bond to us. At the end of the day you
dont need money, but people who can
make things happen. People who have
ideas and can communicate those in an
intelligible way and can show you
whats feasible in a given situation.

Especially on massive productions such


as Cloud Atlas, that sort of trust is worth
its weight in gold. Its great that there
are companies like ARRI and I hope that
the tradition, enthusiasm and standard
of quality that has developed there in
the analog world over the years will
continue to exist in the digital world.
With five films in German theaters,
among them the Cannes winner and
Oscar hopeful Amour (director: Michael
Haneke) and one film in production,
Hai-Alarm am Mggelsee (directors:
Leander Haumann and Sven Regener),
2012 is, by all accounts, a good year
for Arndt and his companies X Filme
and X Verleih.
Susanne Bieger

13

Photos: Laurie Sparham 2012 Universal Pictures.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 14

14

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 15

VISIONARRI

Dreaming the Dream

Les Misrables, the wildly popular musical adaptation of Victor Hugos epic examination of law and
grace set in 19th century France, has been staged in 43 countries; translated into 21 languages; and
seen on stage by over 60 million people worldwide. There have been at least 14 film versions and
numerous television adaptations. So why did Tom Hooper, the Academy Award-winning director of
The Kings Speech, decide to film it again, particularly under the strain of so much expectation?
It could seem like the maddest choice ever, says Danny
Cohen, BSC, cinematographer on Les Misrables, who
also collaborated with Tom on The Kings Speech and two
television productions, Longford and the series John Adams.
Tom had never done a musical before well, its not a
genre that really gets produced at all these days but this
opportunity came his way and he had some fantastic and
groundbreaking ideas for how to do it.
An unusual element of Les Misrables as a musical is that
the entire story is told in song there is hardly any spoken
dialogue. The hugely significant choice Tom Hooper made

was to record all the songs live on set. The actors would
each have an earpiece to hear a pianist off-set playing the
music directly to them. The idea was to give them freedom
and flexibility to act their parts in the moment, rather than
having to act according to a pre-recorded playback, which
is the usual way of doing musicals. As Cohen recalls, Tom
really had to battle to convince people that this was worth
doing, and it did mean there would be massive technical
implications in how to shoot and light it but he felt it
would be worth it to bring the power and truth to the story.

15

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 16

DREAMING THE DREAM

To prepare for such an epic production,


Cohen first went to the source and read
Hugos five volume novel. Its a really
good read, a real page turner and
describes just about everything about
humanity, he says. I also saw the West
End show at the start of prep, which was
eye-opening. Its a big production and
you get the sense that half the audience
has seen it more than once. Its also very
long at around three hours, which is fine
in a theatre but unusual in the cinema
we knew from the start that we would
have to leave things out, and thats hard
when so many people know the story
so well.
In addition Cohen watched many of the
different film versions and was struck by
the variant takes on the story. He also
took visual inspiration from Viscontis
classic film, The Leopard, particularly for
its street fighting scenes as the Italian
revolution unfolds.
However, before any on-set decisions
were required, they needed to decide
what to shoot on.
Its interesting where we are now with
filming choices, says Cohen. When we
did The Kings Speech there was much
less of a discussion about digital, even
though it was just a couple of years ago.
For Les Misrables, we compared
practically everything available we did
tests with 3D, 65 mm, 35 mm, ALEXA,
anamorphic, spherical Some proved
too costly, some were impractical for the
scale of the shoot, and while you need
to make an artistic choice, you also have
to be pragmatic.
Eventually it came down to a choice of
Super 35 mm spherical or ALEXA. We
shot tests side by side and compared
them, Cohen explains. For a period
production, film has more of those
almost imperceptible qualities like
texture, patina, grain Of course you
can do all that in post with digital
images, but if thats what youre looking
for, why bother? Also with the 35 mm
I knew what to expect, so once I had
discussions with the rushes grader I knew
how the film would look.
So the choice was made to shoot a
classic 35 mm spherical using ARRICAM
Lite and Studio cameras with Master
Prime lenses in the end, the same
choice as The Kings Speech.
16

Theres something very simple about


shooting film that appeals to me its the
camera body, its mechanical, a roll of
film gets loaded, you take it out, its
processed, thats it its physical, Cohen
says, Its what ARRI has been making
for nearly 100 years straightforward,
robust, well-built cameras. With the scale
of this project you would expect a few
issues we put around a million feet of
film through the cameras but largely
the ARRI cameras just got on with
the job.
Having the actors singing live meant
shooting with multiple cameras to

facilitate uninterrupted takes. A main unit


of an A, B and C camera filmed
throughout: A camera was operated by
Zac Nicholson, who shot the actors as
close and wide as possible throughout
the shoot, while the B and C cameras,
operated respectively by Luke Redgrave
and Vince McGahon, shot other parts of
the action from further away on longer
lenses. On heavier set-up days there
could be as many as 10 cameras
working simultaneously on various sets.
Cohen is a long-time fan of ARRI Master
Prime lenses, and the broad range of
focal lengths proved invaluable, not just

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 17

DANNY COHEN, BSC

FOR A PERIOD PRODUCTION, FILM


HAS MORE OF THOSE ALMOST
IMPERCEPTIBLE QUALITIES LIKE
TEXTURE, PATINA, GRAIN
for optical quality but also to provide
flexibility and additional storytelling
options. The lenses themselves are
superb, thats a given; but for me,
particularly on this job, the choice of
focal lengths was the biggest advantage.
I had access to every conceivable lens
size I could possibly want, from 12 mm
up to 150 mm, plus ultras at 8 mm,
10 mm and 180 mm, he enthuses.
Tom likes to have wide lenses very
close to the actors but if you go on a
longer lens, your field of view is narrow
and the point of focus is solely on the
face while the background falls away.
We wanted to capture not just the
performance but also what was going
on behind the actor in the sets and
scenery, so we shot wide with shorter
lenses to keep more of the background
in focus and give us more opportunities
to tell the story visually.
ARRI Media supplied the cameras and
lenses, while the lighting package came
from ARRI Lighting Rental. It was a
massive logistical deal, but Ive worked
with [ARRI Medias] Russell Allen and
[ARRI Lighting Rentals] Sinead Moran
for a long time and they were great
the team really bent over backwards
to make everything available as we
needed it and it was all easy one less
thing to worry about, Cohen states.

The core camera crew consisted of


around 15 people: three operators, three
focus pullers, three 2nd ACs, a central
loader and four or five grips, and this
number increased exponentially on
bigger days. Cohen pays tribute to them:
The whole crew really was phenomenal
on this project, there was so much to do
in a relatively short time and everyone
worked fantastically hard.
Cohen himself only managed to shoot on
occasion the scale of the project meant
that he spent most of his time moving
between sets and ensuring everything
was set up as it should be. There
werent many scenes where the main
cast wasnt singing so it wasnt really
feasible to hive off work to a 2nd unit
other than bits of stunt work and action
details, and anyway Tom prefers not to
do that as he knows what hes looking
for, he says.
Much of the action was shot at
Pinewood Studios, using the enormous
new T stage for three key sets as well as
M stage for the Lovely Ladies number.
Lighting the sets was a major challenge
due to the style and nature of the shoot.
Having wide lenses close to the actors
is all well and good but in some ways
we had shot ourselves in the foot
finding places to put lights that created
the right mood but were not in shot, was
certainly a challenge! says Cohen, with
an air of understatement. For instance,

T stage housed a caf set that had solid


ceilings, and literally the only place to
put lights was next to the beams, so we
hung 15 tungsten light bulbs and played
with that.
These self-imposed lighting constraints
meant that, on some sets, actors were
not always in the light, but Cohen chose
to make a virtue of this necessity. You
make a judgment on how far you can
just let things happen and create an
atmosphere in the room to tell the story.
The actors were already under a lot of
pressure they had the pianist playing
in their ear, they had to deliver songs
take after take, and I felt it wasnt fair
to make absolute demands on how and
where they could move. Smart actors
can feel the light and know where to go.
I wanted to give them the freedom to
make it work, and I think having them
moving in and out of light and shadows
has given it a more period look that
works for this dark story.
At the time of writing the four-week
grade was about to start at Company 3.
Time in the grade is a must for me,
says Cohen. We planned everything
really well but on a shoot of this scale
there were inevitably things that we
didnt have time to do on the day, so this
is my chance to finesse things.
Judging by the trailer alone, the resulting
film which is set for a Christmas Day
release will pack a powerful and
emotional punch, and the risks taken
with shooting and lighting decisions to
accommodate the live recording
certainly appear to have paid off.
Wendy Mattock

17

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 18

A new era for


ARRI and ZEISS team up to develop a revolutionary set of seven
Master Anamorphic lenses
The magnificent seven

Innovative optical design

ARRI has announced an entirely new range of anamorphic


lenses for 35 format digital and film cameras. Comprising
seven high performance primes, ranging in focal length
between 35 mm and 135 mm, the ARRI/ZEISS Master
Anamorphic series represents a significant step forward in the
technology and practicality of anamorphic cinematography.

Drawing on its unparalleled expertise in the field, ZEISS has


engineered a new and cutting-edge optical design for the
Master Anamorphic lenses, overcoming many of the common
distortion problems associated with other front or rear
anamorphic systems. Virtually no image breathing is displayed
by the lenses and the problem of anamorphic mumps
(fattening the faces of performers) is automatically
compensated for without any need for calibration on the set.
The near telecentric optical design also reduces color fringing
and shading at the image corners.

Every one of the seven Master Anamorphic lenses has a T-stop


of T1.9 and is super color matched to the other primes and
zooms in ARRIs current lens line-up. For the very first time, a
perfect combination of compact form factor, minimal weight,
exceptional optical performance and very high speed has
been achieved in a set of anamorphic lenses. The Master
Anamorphic range shares the same reliable mechanical
construction as the Master Prime and Ultra Prime lenses, and
has been tested for a temperature range of 40C to +70C.

18

A sophisticated focusing mechanism keeps both the vertical


and horizontal focal lengths of each anamorphic lens perfectly
sharp, thereby eliminating astigmatism. It also obviates timeconsuming mechanical readjustments on the set because lens
elements will not become misaligned, even in situations
involving heavy vibration such as car mount shots. In essence,
the Master Anamorphic lenses are less delicate and technically
challenging than anamorphic lenses have been up until now;
they can be used in much the same way as other modern
cine lenses.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 19

VISIONARRI

The anamorphic look

ALEXAs new best friends

While the Master Anamorphic lenses have consigned to


history many of the problems associated with anamorphic
cinematography, they have lost none of desirable visual
elements that have made the anamorphic look so enchanting
and popular for the last 60 years. Among these are the
unique blue streak lines, reflections and flares produced
by anamorphic lenses, which are highly valued by
cinematographers for their artistic effect and have been
optimized in the Master Anamorphic series.

Though they are also compatible with film cameras, the Master
Anamorphic lenses are the first anamorphic primes to have
been designed for modern digital cameras. More specifically,
they are intended to perfectly complement the ALEXA Studio,
M and Plus 4:3 models, all of which have a 4:3 sensor. The
size and shape of this sensor is ideally suited to anamorphic
image capture, maximizing image quality and faithfully
rendering the optical characteristics of the lenses.

Another important and distinguishing visual facet of


anamorphic images is the appearance of out-of-focus
background elements, or bokeh. A newly developed iris with
15 aperture blades has been incorporated into the Master
Anamorphic lenses, creating perfectly oval and evenly
illuminated out-of-focus highlights. This ensures a pleasing
bokeh that filmmakers will enjoy manipulating creatively.

Weighing in at under 3 kg each and with a front diameter of


only 95 mm for most focal lengths, the Master Anamorphic
lenses are comparatively compact and lightweight, allowing
them to be used in combination with ALEXA cameras as freely
as any other prime lens.
Deliveries of the Master Anamorphic 35 mm (MA35), MA50
and MA75 are planned for early 2013, with the MA100,
MA40, MA60 and MA135 following later in the year.

r anamorphic

19

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 20

RUBINROT
ARRI creates VFX for adaptation of popular teen fantasy novel

German productions based on popular fantasy novel series are the exception rather than the rule:
Rubinrot is one of them. Based on the first book of the Liebe geht durch alle Zeiten trilogy from bestselling
author Kerstin Gier, it was published in February 2009 and marks the beginning of the franchises
meteoric rise to success, staying on the Spiegel bestseller list for an impressive 54 weeks. The sequels
Saphirblau (December 2009) and Smaragdgrn (December 2010) followed suit, remaining there for a total
of 89 weeks. Rubinrot sold more than one million copies in Germany alone and was translated into 19
languages. Due to the trilogys tremendous success it is often referred to as the German version of the
Twilight saga. The expectations for the film are high, making the VFX artists of ARRI Film & TV Cologne all
the more proud of their contribution: the key special effects. Rubinrot was produced by Lieblingsfilm
GmbH (Robert Marciniak, Philipp Budweg and Thomas Blieninger) in collaboration with mem film GmbH
(Felix Fuchssteiner and Katharina Schde), Tele Mnchen/Concorde (Markus Zimmer) and the Geiendrfer
Film- und Fernsehproduktion KG (Hans W. Geiendrfer).
Fantasy films for children and teenagers are a rare
opportunity for VFX artists to abandon reality and create
unique visual worlds that can only be generated on the
computer, says ARRI Creative Director Jrgen Schopper.
You need the fantasy environment to justify such spectacular
images. The producers of Rubinrot offered us the amazing
opportunity to create matching looks and effects, granting us
pretty much free rein. Its a sign of trust built over the course
of a number of successful collaborations.

But whats it about? To fully comprehend the complexities,


paradoxes and implications that move the plot of Rubinrot
forward one has to be Albert Einstein or have a PhD in
quantum physics, as well as a degree in history with a focus
on genealogy. Or one has to be one of the die-hard teenage
fans of Kerstin Giers novels, tens of thousands of whom are
currently congregating on Facebook, eagerly awaiting the
release of the film. For mere mortals the book is about
Gwendolyn, who, like all heroines, is sixteen and beautiful,
and comes from a family with a physiological anomaly:
a mysterious time travel gene thats been in the family
for generations.
20

2012 Concorde Filmverleih

In early 2009, without anyone anticipating the trilogys


astounding success, the producers at the Lieblingsfilm GmbH
in Munich had the prescience to option the film rights. We
received the first draft of the screenplay in early March 2011,
recalls VFX Producers Markus Klaff and Katja Mller, but it
took another year and many preliminary talks before the VFX
team in Cologne could get to work.

TIME TRAVELING with the chronograph

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 21

VISIONARRI

FANTASY FILMS FOR CHILDREN


AND TEENAGERS ARE A RARE
OPPORTUNITY FOR VFX ARTISTS
TO ABANDON REALITY AND
CREATE UNIQUE VISUAL WORLDS
THAT CAN ONLY BE GENERATED
ON THE COMPUTER.

ARRIS 3D ARTISTS created the complex inner workings of the


mysterious chronograph machine

One day, when Gwen suddenly finds herself in London in


another era, she realizes that she too has inherited the
problem and, wanting to get to the bottom of it, begins to
research her family history. In her efforts to shed light on the
secrets surrounding her own existence and that of an ancient
order of time travelers, called the sentries, she encounters
murderous villains, unexpected allies and of course as
if things werent complicated enough the love of her life.
Adapted for the screen by Katharina Schde, who also
co-produced the film, Rubinrot was shot in 42 days between
February 21 and April 27 in Mhlhausen, Thuringia.
Other locations included Eisenach/Wartburg, Weimar,
Cologne, Aachen, Jlich, Coburg, Bayreuth and London.
Felix Fuchssteiner (Die Kurve, Drauen am See) directed the
film, while the images were captured in the aspect ratio
2.35:1 on the RED Epic by cinematographer Sonja Rom
(Wild Soccer Bunch 1-3).
One of the key challenges for ARRI Film & TV Services
Cologne was the implementation of the numerous shifts from
one era to the next, while also distinguishing between two
types of time leaps: the involuntary ones, which pose quite a
challenge for the heroine in the beginning, and the voluntary
ones, during which a mysterious blood-activated machine
called a chronograph plays a key role.
We were able to finish the first layouts with the look in April,
after the editing had made a great deal of progress, says
Mortimer Warlimont, Supervisor of Visual Effects, who was
involved in developing the time leap concept for the film. A
digital disappearing effect was created for that purpose: a
flash of color that squeezes the person through a tiny dot in the
background, more or less popping them out into another era.
This time travel effect had to work in both wide shots and
close-ups. To create the required in-camera images, the actors
were suspended from a rope in front of a greenscreen and
pulled all the way back so that they could later be erased on
the computer. Each time traveler was assigned a different
colored flash, which matches the characters representative
gemstone, a concept that has to do with the inner workings
of the chronograph. Gwens color is ruby red.

Another complex scene was set in the streets of London and


was shot from a crane while the camera was slowly lowered.
The sequence, which was actually shot in Bayreuth, called for
several digital set extensions to turn the quaint Bavarian town
into the London of today and of 1913, including all required
historical details. This was accomplished for the most part
with 3D models to balance out the lens distortions caused by
the camera movement on the crane, explains Senior
Compositing Artist Min Tesch.
Using Google Earth, we surveyed the location in Bayreuth in
order to adjust the angles. Even the landmarks of the London
skyline, such as Big Ben and The Gherkin, were created on the
computer in 3D.
Gwens enemies had to look appropriately sinister. The evil
count, for example, has fog-like hands, and the smoke wafting
out of his fingers can telekinetically strangle the heroine a
prime example of particle animation. And theres the wall that
turns into a face in order to frighten Gwen, explains Mller.
The image used as a reference for this scene was a shot of an
actors face pushed into gauze that was stretched into a frame.
The actor spoke his lines with his face in the gauze. The scene
was then recreated from scratch in 3D and animated,
including the lip movements and the wall texture.
The highlight of the film, from a VFX perspective, was the
chronograph. From the outside it looked like a box-like prop
that was later cleaned up digitally. But what could the intricate
and, for the plot, absolutely crucial insides possibly look like?
We put a lot of thought into that, until we got it right
esthetically, and we gave the director a wide range of choices
of layouts and designs, recalls Schopper. The design was
based on a pencil drawing from Katharina Schde. In the end
the team agreed on an art nouveau look with a dash of
steampunk esthetic. Led by ARRIs Head of 3D, Michael Koch,
the 3D artists in Cologne created the complex inner workings
and mechanics of the chronograph, including fog and particle
clouds in full CG, over the course of several months.

21

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 22

RUBINROT

DIGITAL SET EXTENSIONS turned the Bavarian town of Bayreuth into London (above) and virtual snow was added to numerous shots (below)

ARRI VFX entered new territory with the linear workflows for
Rubinrot, utilizing the ACES system, an innovative color space
standard developed by the Science and Technology Council of
the Academy of Motion Picture Arts & Sciences. The file
format was always viewed as an interim solution, created in
order to combine digital data (CGI/VFX) with scanned analog
material, says Warlimont. Now that almost everything is shot
digitally and linear, it makes sense to establish a new color
space that makes merging the data streams more seamless.
We really did pioneering work on Rubinrot.
In addition, there were a great number of compositing chores
to be completed, including day and night car and carriage
rides that were shot in front of the greenscreen, wire removals,
retouching of safety wires used by stuntmen, and muzzle fire,
including a shot of a bullet firing and hitting a wall.
Also unique was the great number of back-to-back VFX shots.
For virtual effects such as snow this entailed adjustments of
each shot, including wide shots and close-ups, in terms of the
velocity, density, turbulence, coloring and camera tracking,
sometimes for a total of 20. In some cases these effects had
to be combined with others.
Many shots required numerous preliminary and alternate
versions. Just for the voluntary time leap sequence we had
22

74 versions before it all matched. Keeping track of all these


versions was a challenge that asset management at ARRI VFX
gladly took on, says Compositing Supervisor Stefan Tischner,
praising the work of his Cologne colleagues.
The romantic highlight of the film is the Cherry Blossom Ball at
St. Lennox-College, featuring 3D-animated falling flower petals.
We cant, of course, reveal whos dancing with whom.
All in all, a total of 165 VFX shots were created and realized
for Rubinrot between April and early October of 2012, and
included fine-tuning the rendering of the full CG sequence
with particle effects inside the chronograph. About 10
specialists worked on the project at that stage of the process,
with a third handling 3D tasks (3ds Max from Autodesk with
FumeFX Plugin) while the others handled compositing (Nuke)
and supervision.
Rubinrot was made possible with the support of the Deutschen
Filmfrderfonds, the FilmFernsehFonds Bayern, the Film- und
Medienstiftung NRW, the Mitteldeutschen Medienfrderung,
the Filmfrderungsanstalt and the Bayerischen Bankenfonds.
All non-time travelers will have to wait until March 14, when
Concorde Verleih releases Rubinrot in German theaters.
Ingo Klingspon

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 23

VISIONARRI

ALEXA: LATEST NEWS


SOFTWARE UPDATE
PACKET (SUP) 7.0

With the release of the latest model in the ALEXA range the Plus 4:3 earlier in 2012, ARRI has
consolidated the ALEXA system to such a degree that it now offers an unparalleled variety of options to
film and program makers. Work continues to go on, however, to refine existing features and develop new
hardware and software tools. To this end, the latest ALEXA software update has enhanced image quality
and made in-camera SxS PRO card recording an even more attractive option for feature films.
SUP 7.0 brings some significant image
quality improvements as well as exciting
new recording options for feature film
productions using ALEXAs in-camera
SxS PRO cards.
The Regular Speed Debayer algorithm
inside ALEXA has been replaced with a
new algorithm that provides even cleaner,
sharper-looking images, especially on
high contrast edges and in areas with
fine detail. The new Regular Speed
Debayer algorithm applies to all HD-SDI
outputs, as well as ProRes and DNxHD
images in Regular Speed mode (0.75 to
60 fps). At the same time the High Speed
Debayer algorithm (for 60 to 120 fps) was
also replaced with an improved version.
Of the two new recording options
enabled by SUP 7.0, the first is ProRes

2K 4:3, which facilitates the shooting of


anamorphic feature films onto in-camera
SxS PRO cards. It works with all ALEXA
cameras that are 4:3 capable (ALEXA
Studio, ALEXA M and ALEXA Plus 4:3).
On spherical lens shoots, ProRes 2K 4:3
gives extra room for vertical repositioning
in post, while on ARRIRAW shoots it
provides the option for an extra in-camera
backup. ProRes 2K 4:3 records 2048 x
1536 pixels into a QuickTime/ProRes file,
supports all ProRes codecs, and works
from 0.75 to 48 fps.
The second new recording option,
ProRes 2K 16:9, is great for shooting
feature films onto in-camera SxS PRO
cards without rescaling, as would be
needed with ProRes HD. ProRes 2K
16:9 works from 0.75 60 fps with

all ALEXA models and provides a high


quality 2048 x 1152 ProRes file that is
ideal for feature film productions.
Due to these new recording options, the
choices of what to see in the viewfinder
and MON OUT image have been
re-worked. Users can decide between
seeing just the image being recorded,
the image with the surround view, or
the image with surround view and also
camera status. Other benefits of SUP 7.0
include the LCC (Low Contrast Curve)
in every ALEXA by default; 3D sync for
the ALEXA M; the addition of a sixth
user button, achieved by moving the
function of the edit button to the jog
wheel; and many other user interface
improvements.

23

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 24

The Smallest Biggest


Light On Set
The new M90/60 joins the award-winning M-Series
M40/25

ARRIMAX 18/12

M90/60

M18
24

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 25

VISIONARRI

Since its introduction in 2005, the ARRIMAX 18/12


fixture has become a ubiquitous presence on film
sets all over the world, providing massive light
output for the biggest scenes. At the heart of this
Oscar-winning fixture is an innovative, patented
reflector that eliminates the need for spreader
lenses and combines the advantages of a PAR with
those of a Fresnel. The same MAX Technology has
gone on to be used in a range of other ARRI
fixtures, including two further lampheads in the
M-Series, the M18 and M40/25. Now the M-Series
is being extended with a fixture that ushers in an
entirely new 9,000-watt power class the M90/60.
The M90/60 packs a lot of punch into a small package. Light
output is close to that of a 12K, while size and weight are
nearer to a 6K, making it easier to transport. This is a crucial
consideration for productions travelling to distant locations,
as weight and space on trucks can be extremely limited.
The advent of high sensitivity digital cameras such as the ARRI
ALEXA, which has a base sensitivity of EI 800, has meant that
light levels on many film and television sets have fallen. In
some cases, an 18K is an unnecessarily large and unwieldy
fixture, and could be replaced as the biggest light on set by
the M90/60. On digital productions the M90/60 could easily
function as a huge keylight in many setups, for example when
lighting large areas at night. Up until now the next step down
from a 12K or 18K has been a 6K, but the M90/60s new
9,000-watt power class bridges the gap and offers a perfect
solution for situations where an ARRIMAX would be a bit too
big or bulky.
A completely new 9,000-watt bulb has been developed by
Osram, one of ARRIs key technology partners, specifically for
the M90/60. Alternatively a 6,000-watt bulb can be used,
making this a highly versatile lamphead. Osram has achieved
a technical breakthrough by designing the new 9,000-watt
bulb to be stable at 1,000 Hz, which is a remarkable feat for
such a powerful lamp. It means that the M90/60 will be an
extremely useful fixture for high speed cinematography,
allowing frame rates of up to 1,000 fps while delivering
the large amounts of light required.

M90/60 FEATURES
New 9,000-watt power class
Superior light quality via MAX Technology
As small and lightweight as a 6K PAR
Light output close to a 12K PAR
Focusable from 17-55
Can be operated with 9K bulb at 1,000 Hz

EB 6000/9000 BALLAST
Accompanying the M90/60 is a new high speed ballast, the EB 6000/9000.
Like other recent ballasts from ARRI, it features CCL (Compensation for Cable Loss)
technology and the power-saving ALF (Active Line Filter). The EB 6000/9000 is
DMX compatible, dual voltage (120/230 V) and is no bigger than ARRIs existing
EB 6000 Baby ballast.

Same size as EB 6000 Baby ballast

Dual voltage (120/230V)

CCL (Compensation for Cable Loss)

DMX compatible

ALF (Active Line Filter)

Available in a 1,000 Hz version

25

2012 ITV

10729 Vision ARRI 14 AW_A4 16/11/2012 14:40 Page 26

The
Bletchley
Circle
John Pardue on using ALEXA to create the mood for a crime drama set in 1950s London
Produced by World Productions for ITV in the UK, The Bletchley Circle is a three-part television series shot by
cinematographer John Pardue using ARRI ALEXA cameras supplied by ARRI Media and a lighting package
supplied by ARRI Lighting Rental.
When the team behind The Bletchley Circle met to discuss
the look of a crime drama set in the early 1950s, they
eschewed a bright, post-war, optimistic look for a more
austere, repressed England.
Andy De Emmony [director], Mike Gunn [production
designer], Anna Robbins [costume designer] and I discussed
at length how to make this period look work the pre-1960s
modernity was creeping into England, but our story was
anchored in Bletchley and the war, and there was still
rationing and a make do and mend feel to everyday life,
says Pardue. The three elements of set design, costume design
and lighting worked very well together Mike and Anna used
muted colors, which I complemented with a mix of practical
lights and a very soft daylight through windows for interiors.
I created a low-key mood with the lighting, an almost
permanent end of day feel. The mix of tungsten and daylight
in the interiors also gave the film a distinctive style.

26

Despite the period setting, Pardue chose to shoot the drama on


ALEXA. Clearly we didnt want it to feel digital but the ALEXA
has quite a filmic look for a digital camera, he says. Ive
shot on film for many years and I still love that medium, but the
ALEXA gives good latitude and handles mixed color very well,
and its simple to use. Its definitely my favorite digital camera,
and it was really the obvious choice for this project.
Pardue also chose to use Cooke S4s, selecting them for their
slightly lower contrast feel and ability to bring a cinematic
quality to digital material. Pardue used nearly the full range of
Cooke S4s, particularly favoring the 21 mm and 40 mm focal
lengths, and used a black frost diffusion filter to add more
softness to the image. He also used an Angenieux Optimo
zoom lens.
Pardues lighting choices were not dictated by the medium.
I lit the drama as I would have for 35 mm, I didnt need to
make any concessions for shooting digitally, he says.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 27

VISIONARRI

The ALEXA beautifully reproduced the


muted colors used in the design of the
drama. I find that it responds like film to
color temperatures; it looks very beautiful
with a cold light on faces, but can also
retain the detail of a darker night interior.
The Bletchley Circle is a crime drama,
which sees ex-wartime code-breakers
utilizing their skills to solve a murder.
Several scenes take place at night or
in dark houses, with a shadowy and
chilling feel in particular in the last
episode as the main character, Susan
[played by Anna Maxwell Martin],
encounters the Anderson shelter
murderer. The director, Andy De
Emmony, and Pardue felt it was
important to visually switch from
Susans suburban domestic life to the
dark world of a deranged serial killer.
You have to be careful with darkness
for TV as it can be mushy you need
to have contrast within the darkness, and
of course be able to show the audience
enough of what is happening its often
more the idea of darkness, Pardue
observes. There was a sequence where
Susan followed a trail of oil lamps; the
ALEXA handled it very well, creating
enough contrast in the shadows while
the darker side of her face was defined
and didnt fall off. In another scene
where Susan enters a very dark flat with
a tiny amount of light coming in through
the windows, we could still see the glint
in her eye. The ALEXA allowed us to
capture Annas nuanced performance
and create the required tension plus of
course, shooting digitally meant there
was no problem with graininess in
the blacks.
Pardue chose to shoot to a LUT of Rec
709 throughout, which worked to retain
the required look and meant minimal
changes in the grade. Pardue explains
his choice: Very early on, we committed
to doing as much on set as we could.
We knew the kind of look we wanted
and the Rec 709 LUT gave us a pretty
good basic set up. It kept everything
very simple, and by playing to the LUT
set up for the ALEXA you play to the
strength of the camera.
We did alter the color temperatures
quite a lot, for example if we were
doing a night scene and wanted a
moonlit feel, we found it in the color

ALEXA GIVES GOOD LATITUDE AND


HANDLES MIXED COLOR VERY WELL,
AND ITS SIMPLE TO USE. ITS
DEFINITELY MY FAVORITE DIGITAL
CAMERA, AND IT WAS REALLY THE
OBVIOUS CHOICE FOR THIS PROJECT.
temperature rather than doing it in the
grade later. We knew from the rushes
that we had achieved the look we
wanted in camera so, when we got to
the grade, colorist Sonny Sheridan at
The Farm did a fine job to build on what
we had achieved by using Rec 709 as a
basis for his grade.
The two TV Logic reference monitors on
set were also set to the LUT, as were the
monitors being used in the Avid edit
suite in Dublin where assembly edits
were created. Pardue used the monitors
with the LUT applied as a reference for
the lighting, and sometimes had DVD
rushes for particular scenes, but more
often De Emmony and Pardue reviewed
the rough cuts on De Emmonys iPad on
the morning car journey to the set. I
havent had many opportunities in the
past to have those discussions before
you get to work, but it was a great way
to get into that mindset, discuss what we
had, make decisions and get on with the
day, Pardue recalls.
Pardue did most of the operating himself,
with an occasional 2nd unit for certain
scenes covered by cameraman Mike
Parker. Andy is a very experienced
director, he knew how he wanted to
build the shot and shoot it, and hes
generally a one-camera director, says
Pardue. In The Bletchley Circle theres

a lot of information to gather and


puzzles to solve, which visually could
have been rather boring, but we kept the
camera moving with quick cuts to retain
the tension and urgency. Then we would
slow down for more emotional scenes.
Schedules were tight throughout the
shoot, with limited time to capture
several scenes on the Bluebell Railway
and at St Pancras station. As Pardue
explains, We shot most of the drama in
the train carriages handheld over two
days the ALEXA is well-balanced which
made it easy to move around. We also
had half a day to shoot a complicated
scene at St Pancras avoiding the
Eurostar and other modern furnishings
to create a 1950s station full of steam
trains and busy station life, seamlessly
cutting back to cheated cutaways that
we had shot at the Bluebell Railway.
The Bletchley Circle was a tough shoot
with a tight schedule, and shooting
period in London comes with its own
set of problems. However, the team were
very pleased with what they achieved.
The ALEXA was a good choice for this
project and we were all really pleased
with the way it looked in the finished
grade. It was an easy camera to
manage digitally and comfortable to
move around and operate.
Wendy Mattock

27

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 28

Moving Images in
Three-dimensional Space

BMW AG

The motion design team of ARRI


Commercial and its partner lucie_p

BMW SHOWCASE 2012

ARRI COMMERCIAL AND LUCIE_P JOINED FORCES ABOUT A YEAR AGO AND
HAVE SINCE BECOME A GROUNDBREAKING MOTION DESIGN TEAM CAPABLE OF
TAKING ON OLYMPIC-SIZE CHALLENGES. THEIR MOST RECENT COLLABORATIONS
REFLECT THE PARTNERS EQUALLY HIGH STANDARDS, AS WELL AS THE GROWING
SIGNIFICANCE OF MOVING IMAGE DESIGNS FOR CLIENTS.
Maximum emotional energy for BMW
Pixels of light flood a three-dimensional space, then gather
and form a shape: an athlete, a computer-generated image of
the highest quality. This CGI athlete was part of the chosen
creative concept developed by lucie_p and ARRI Commercial
for its client, BMW, to create content for the movie theatre that
was part of BMWs London Showcase 2012.
The film used the pavilions theme Driving the Future and
presented BMW as the world-leading car manufacturer when it
comes to sustainability. We associated each of BMWs three
brands BMW, BMWi and MINI with Olympic sports,
explains Rico Reitz, Creative Director, ARRI Commercial. The
key visuals were a 400 m track star representing BMW, a pole
vaulter as BMWi and a beach volleyball player as the Mini.
The visual through-line connecting the worlds of these different
brands was light, a visual design element that also reflects the
Olympian spirit. The athletes were created with light particles,
and three multi-colored light beams merged the different
brands at the end of the film under the umbrella brand. 50
3D shots, each with 40 layers, really paid off, adds Reitz.
We created a highly realistic 3D model of a universal athlete
using never-before-seen light worlds, and showed him from
unusual and seemingly impossible camera angles.
28

A key part of the success of the presentation was the teams


specially designed in-house cinema, according to Tina Maria
Werner, General Manager of lucie_p: In our cinema we
were able to watch the film as it would later be projected to
evaluate its impact prior to the event and to optimize the
results. The finished film brought to life the brand equity
standards of the cars, and fired up the pavilion visitors who
were captivated by the unique images and the cinematic
score composed specifically for the film.
Science Fair
The cinema was also used to design the stage show Night of
Innovations. The show was the centrepiece of a star-studded
gala that took place on 10th August in Essen, Germany, with
actor Orlando Bloom, Wikipedia founder Jimmy Wales and
German TV personality Anker Engelke among the 2000 invited
guests. The event kicked off the 13-day Science Fair 2012, a
technology fair hosted by ThyssenKrupp and 200 partners to
introduce young people to scientific fields such as mathematics,
computer science and the natural sciences.
The key atmospheric element of the two-and-a-half hour stage
show was a 250-square-meter LED screen. Angenehme

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 29

VISIONARRI

BMW AG

WE CREATED A HIGHLY REALISTIC 3D


MODEL OF A UNIVERSAL ATHLETE USING
NEVER-BEFORE-SEEN LIGHT WORLDS,
AND SHOWED HIM FROM UNUSUAL AND
SEEMINGLY IMPOSSIBLE CAMERA ANGLES.

Unterhaltungs GmbH and Brandsome hired lucie_p and ARRI


Commercial to create the animated logo for the Science Fair
as well as to design the shows multimedia wall. The latter
became an integral part of the program, used for the shows
lead-in and introductions to the various segments throughout,
to provide cues for the hosts, and for the outro.
The centrepiece of the program was a 19-minute trip through
the history of technology, from its very beginnings to the
present, in the form of a stage show involving the German TV
Ballet Ensemble. In shows and during large public events,
large-scale motion designs are becoming more popular
partly because LED screens are becoming more affordable,
explains Philipp Bartel, Head of Commercial at ARRI.
The onstage presentation blends with the atmospheric quality
of the light and the vibrant images of the moving image
presentation, creating interactive possibilities and revealing
unique perspectives. We are particularly proud of Nights of
Innovation, which allows audiences to experience the
fascinating world of science, technology and innovation.
Bosch goes digital: first-rate infotainment at
the IFA booth
In the case of the Science Fair, the idea was to create a visual
spectacle. For the IFA booth of Bosch, the household appliance
manufacturer, the intention was to highlight the philosophy
behind the newest product lines, while emphasizing the
importance the brand places on its designs. 127 monitors
were placed next to each other, wrapping around a 3000square-meter booth like a ribbon made of moving images.

The monitors displayed generic worlds that represented themes


such as freshness and water, but also included productrelated themes such as 100% efficiency.
As with all of their collaborations the lucie_p and ARRI
Commercial design teams split the tasks to play to their
individual strengths. While lucie_p developed the creative
concept and took care of consulting and client support matters,
ARRI Commercial was in charge of the actual production and
ensured that the highest technological standards were being
met. After the client, Wenger & Wittmann, had articulated
their goals, the motion design team translated these into visuals
and sound. First, a mood board was created with visual
approximations for each topic. Once they were approved,
storyboards were drawn. Then the content was animated and
edited into finished films. To test the effectiveness of the
animation within the moving image installation, a model of the
eventual installation was set up to provide a visual reference.
The agency and the client were able to track the progress of
their project throughout the process.
During the production phase, six 50 monitors identical to the
ones later used at the booth were set up in lucie_p and ARRI
Commercials design studio to preview all the moving images
and to optimize the results during final approval. One
particular challenge was that all the individual elements of the
program had to be used interchangeably and out of order
during the trade show, recalls Werner. We created a
building block concept that allowed the client to play all the
images and sounds out of sequence. The moving image
ribbon was a highlight of the Bosch booth and a key element
in creating the desired atmosphere.
29

10729 Vision ARRI 14 AW5_A4 15/11/2012 13:13 Page 30

BOSCH

MOVING IMAGES IN THREE-DIMENSIONAL SPACE

BOSCH IFA

IDEENPARK

BMW AG

OUR MOTION DESIGN


TEAM IS A ONE-STOP
SHOP. WE OFFER
EVERYTHING,
INCLUDING CREATIVE
IDEAS AND CONCEPTS,
TECHNICAL EXPERTISE,
PRODUCTION AND
POSTPRODUCTION
SERVICES FOR MOVING
IMAGE DESIGNS,
EVEN MUSIC.

1+1=3
The concept of collaboration that Philipp Bartel and Tina Maria
Werner had prior to joining forces in the fall of 2011
is paying off. Clients are getting more for their money thanks
to the companies permanent affiliation, which allows the
partners to bring their individual strengths to the table, thereby
improving the cost-benefit ratio for their customers. Our
motion design team is a one-stop shop. We offer everything,
including creative ideas and concepts, technical expertise,
production and postproduction services for moving image
designs, even music, says Werner. And brands appreciate
this approach more than ever, according to Bartel:
30

Our current projects show that clients from every sector,


regardless of size, are coming to us. We offer moving image
installations for conventions and exhibits, 3D visualizations, 3D
video mapping, outdoor building projections and much more.
We have the resources to meet any challenge. We can add
personnel during key phases, while still being able to move
incoming projects along and offer the best quality possible.
And their success speaks for itself: audiovisual presentations
are part of any brand marketing strategy that takes the
experiences and expectations of clients and consumers
seriously and the lucie_p and ARRI Commercial team is
the perfect partner for these types of projects.

10729 Vision ARRI 14 AW5_A4 15/11/2012 13:13 Page 31

VISIONARRI

A POWERFUL TEAM: Philipp Bartel, Head of Commercial at ARRI


and Tina Maria Werner, General Manager of lucie_p

Philipp Bartel and Tina Maria Werner


discuss the role of moving images in the world
of brand communication today.
Innovative communication through moving
images is more sought after than ever. Why is that?

VisionARRI:

Philipp Bartel: Ever since commercials started to play an


increasingly important role online, consumers and customers
alike express a preference for this emotionally powerful format
and not just on the computer screen. Whether its in the
subway or on a smart phone or digital billboard, we all expect
audiovisual presentations of the highest quality. And good just
isnt good enough. We expect more than old-fashioned TV
commercials, more than pre-rolls that delay the beginning of
online videos. Innovative motion designs, therefore, are the
way to go.
VA: But why is the moving image such an important
communication tool?
Tina Maria Werner:

Moving images have the potential to infuse


brands with positive emotions and to make them memorable:
we remember what weve seen more easily than what weve
smelled. The human brain recalls messages that appeal to
several senses at once more easily. Thats why image and
sound are a particularly successful symbiosis. Its what makes
the moving image a highly effective tool.

VA: Some of the brand representatives are


reluctant because of the costs involved whats
your response?
PB:

The costs arent as high as one would expect. Whether


its HD cameras, visual effects software or LED screens, the
technical resources used during the production and projection
of moving image designs have improved significantly in the
past few years in terms of quality, while becoming much more
affordable at the same time. Whether we are talking about
cinematic company profiles for homepages or small or large
convention presentations, computer-generated product
presentations or outdoor building projections theres an
affordable solution for every brand.

VA:

How should moving images be used?

TMW: That depends on the brand and the challenges it faces.


If you have a product thats very complex, then a video is the
perfect tool to illustrate the complexities in an engaging way.
Designers who want to highlight the esthetic value and
creativity behind their products can do so using moving image
presentations at conventions. Clients who want to create a
feeling of familiarity and a sense of passion can accomplish
this by making their customers become part of an installation
through the use of moving images. There are numerous other
examples because moving images are as unique as a brand
and a convincing presentation communicates that best.

31

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 32

Innocence
Vampire thriller sinks its teeth into on-set dailies

Line producer Gary Guidice discusses why the


low-budget, independent film used an on-set
system to deliver same-day dailies.

Why did you decide to shoot


Innocence digitally?

VisionARRI:

Gary Guidice: Certainly budget played a large part but, in


particular, the ARRI ALEXA has really revolutionized filmic
imagery in a way that no other camera system is doing right
now. If it was strictly a cost issue I dont know that the decision
would have been as straightforward. But the fact that you can
create beautiful and cinematic imagery combined with the cost
and convenience of digital made it an easy decision for us.
VA: You chose to shoot ProRes onto the on-board
SxS PRO cards over recording ARRIRAW, why
was that?
GG: Again, cost was a factor. Convenience was a factor. But
also David Morrison the DP knew that he wanted to do a lot
of handheld on the movie - and we did do a lot of handheld.
Our operator Alan Pierce [Winters Bone] is probably one of
the finest handheld operators in the business. I think we felt
that the added weight of the ARRIRAW recording systems
might limit the cameras agility in a way. This also had a lot
to do with why we went away from a traditional tethered DIT
scenario. ARRIRAW verses SxS was not a simple decision for
us though. We have a lot of VFX in the movie and there was a
thought that we needed to shoot ARRIRAW in order to give our
VFX supervisor the room he needed to do his work. With
ARRIRAW, reframing, blowing up, depth of image is practically
limitless. With ProRes there are definite limitations but, with our
research and some testing, we concluded that ProRes would be
sufficient for us.

Why did you decide to use an on-set solution for


your dailies as opposed to a lab?
VA:

GG:

32

We werent at first until Gus [Rental Manager, ARRI CSC],

Photo: Jojo Whilden

As more productions move to digital acquisition, a


growing number are employing dailies processing
solutions on- or near-set. Innocence, a teen
vampire tale directed by Hilary Brougher and shot
by cinematographer David Rush Morrison, made
the decision to adopt such a route, choosing an
ARRI ALEXA and mobile digital dailies package that
utilized Colorfronts On-Set Dailies system. Camera,
lighting and grip equipment was supplied by ARRI
CSC, based out of Secaucus.

THE ARRI ALEXA HAS


REALLY REVOLUTIONIZED
FILMIC IMAGERY IN A
WAY THAT NO OTHER
CAMERA SYSTEM IS
DOING RIGHT NOW.
Chris MacKarell [Digital Workflow Supervisor, ARRI CSC] and
Ryan Dwork [Rental Agent, ARRI CSC] brought it up. I think we
were back and forth about a traditional DIT or a loader/lab
when they brought the idea to us. With some exploration
and research time was of the essence because it was very
late in our prep period at the time these conversations started
we concluded that the on-set solution that ARRI CSC was
proposing offered us the same reliability, service, quality, and,
affordability as traditional lab dailies. And this seems to be the
direction that production workflows are going, so Im keen to
be ahead of the curve or at least current. And the producers
were very supportive of the idea so that made it easy.
VA: Could you talk more about the immediate
effect that having this solution provided?
GG: When dailies are created by a facility, the process never
really allows for any shooting crew to be involved in the timing
of the dailies perhaps the DP can send some stills of what
hes expecting or there can be some conversation via email,
maybe by phone at lunch. In any case, its very minimal.

Photo: Nicole Rivelli

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 33

VISIONARRI

SETTING UP A SHOT David Rush Morrison, DP; Ethan


Borsuk, 1st AC; Al Pierce, operator; Hilary Brougher,
director (left to right)
Photo: Walter Thompson

AT THE VIEWFINDER of the ALEXA: David Rush Morrison

With a DIT you get that immediacy but you are tethered and
the DITs focus is usually on that, so they usually wont go so
far as creating editorial files too. With us having the cart on
set it was kind of the best of both worlds. Ben Schwartz [DIT]
was creating our editorial and dailies files and we were
literally coloring footage within minutes of shooting it. The DP
could walk over to Ben and grade with him, which is
impossible with a conventional lab workflow. They could walk
over and solicit Bens advice and have all of the tools of the
cart at their disposal to verify what had been shot is the
lighting too low, will we be able to time this out in the DI the
way we want to at this exposure, etc. This can all happen
within a few minutes while they are setting up the next shot or
while the actors are getting changed. And our project hasnt
seen the full spectrum of this benefit yet as we are still editing.
I suspect when we get into the DI later this year, there will be
some scenes where our DI colorist can just plug in the look that
they created on set and work from that instead of starting from
scratch or from the very generic Rec 709.
VA: Were editorial happy with the files generated by
the cart?
GG: Yes. When exploring all of the different options around
production workflow, inevitably one of the questions was: is
the assistant editor going to do the transcoding for editorial?
That would occupy a significant amount of an assistant editors
day and also delay the editor being able to work with the
footage. Relieving our editorial team [Peter Frelik, assistant
editor and Keith Reamer, editor] of that duty was huge for
them. We had happy editors and the footage always arrived

ON LOCATION shooting in Riverside Park, Manhattan

in great shape. We had thorough technical conversations in


preproduction about how they wanted to receive their dailies.
There are a lot of details to decide on, and having that tight
communication with everyone during prep really set the stage
for a smooth workflow once we started shooting. Keith and
Peter are old pros and they would have been vocal if anything
were amiss.
VA: Did the images and metadata meet
productions expectations?
GG: Absolutely. First and foremost David was capturing
beautiful images on set, which is something no technical
advancement should ever try to circumvent. Ben was able to
dial in Davids desired look the rest of the way. Everyone
was happy with the footage. In fact, we just screened the
assemblage for the producers and the director with the
editorial footage and everyone is over the moon. As far as the
metadata, again I heard no issues or complaints from editorial.
We did a test conform of a two-minute sequence when we
wrapped principal photography and that went smoothly, so
all of the master footage and the editorial footage is matching
up nicely.
VA: Would you recommend other productions look
at this approach to dailies?
GG: Yes, I think it makes a lot of sense for a production to look
at it. There is a lot of versatility in how you can apply this
system and I suspect you can come up with one that makes
sense for your production and budget, etc.
Brigitte Wehner

33

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 34

Brighter
Cooler
Smaller
The ARRI L-Series of LED Fresnels
now offers a tungsten model and
optional active cooling
ARRIs L-Series of LED lights, which launched with
the color-controllable L7-C model, has quickly been
accepted by the industry as an efficient, ecofriendly and cost-saving alternative to traditional
tungsten Fresnels. Now a dedicated tungsten
model, the 30% brighter L7-T, has been released,
alongside an option for active cooling that reduces
both the weight and the size of L7 units, making
them perfect for location shoots.
L-Series fixtures reduce electricity usage by 75%, permitting
huge savings to be made in studio environments and greatly
diminished power needs on location. Further savings are
brought about by the exceptional life span of the LED
light engine, which lasts around 200 times longer than a
conventional tungsten bulb.
The L7-T is a single-color, 3200 K tungsten version of the
popular L7-C, providing in excess of 30% more light while
maintaining the same size and weight, and offering the same
calibrated color quality. It is particularly suited to applications
requiring maximum intensity for a given fixture size. L7
lampheads also provide the same light quality and simplicity
of use as conventional tungsten Fresnels, and can easily be
used alongside them.
34

ACTIVE COOLING
A new active cooling option for both the L7-C and the
L7-T premiered at IBC, while still providing energy
savings and impressive light output, it is now in a smaller
and lighter package. Featuring a super quiet fan, L7
lampheads equipped with active cooling are ideal for
low-ceilinged studios, portable lighting kits and location
use, as their reduced size and weight make them easier
to transport and allow them to be used in spaceconstrained environments.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 35

VISIONARRI

GO WIRELESS
New wireless control options with the WCU-4 and CLM-4
ARRIs Wireless Remote System is a sophisticated toolset for wirelessly
controlling lens and camera functions on set. At IBC 2012 ARRI
announced the new Wireless Compact Unit WCU-4, which will be
the most sophisticated and user-friendly remote control on the
market, succeeding the WCU-3.
The WCU-4 is an all-inclusive hand unit
offering up to 3-axis of lens control. It
includes a newly designed, super-smooth
focus knob with adjustable friction and
backlit, pre-marked focus rings that are
readable in the dark. The whole unit is
completely splash proof, further
enhancing its typical ARRI reliability.
An advanced built-in iris slider has its
scale on the 3 display, providing clearly
readable T-stop numbers.
Included on the left side handle is an
ergonomically designed, pressure-sensitive
zoom knob. A user-programmable button
underneath the handle permits rapid
access to functions such as quick zoom
(zap) or setting marks. An optional hand
strap provides extra stability and leaves
the thumb of the holding hand free, thus
allowing even the most challenging
simultaneous shifts of iris and focus.
The large 3 transflective display reflects
ambient light and remains clearly visible
even in direct sunlight, while also saving
battery power. It provides enough room
for status information of camera and
hand unit, measured distances from
ultrasonic devices or lens data in a
graphical form. Focus, iris and zoom
marks or limits can easily be set by
pressing one of the sealed, backlit
buttons next to the display. ARRI Lens

Data Display is integrated and when


used with the ALEXA camera, the unit
displays camera settings and status; it
will even be possible to control ALEXA
with the WCU-4 following a future
software update.
One of the most groundbreaking new
features of the WCU-4 is the option to
use tactile feedback for electronic
markers, limits or warnings. Essentially,
focus pullers can set soft rather than hard
stops, and the unit will vibrate to warn
them when they are at their pre-set
markers or limits, or if a camera warning
occurs. This allows them to keep their

eyes on the performers at all times,


leading to greater accuracy of focus.
Users can save their preferred settings
on an SD card, enabling them to
immediately personalize any WCU-4,
anywhere in the world. The WCU-4 is
designed to be expandable; new
firmware versions can swiftly be installed
to the unit via SD card. Various mounting
points allow future accessories to be
mounted, including brackets for mini
monitors or iPod Touch. The unit is
powered by an affordable camcorder
battery and is compatible with existing
ARRI motor controllers equipped with
the white coded radio modem.

CONTROLLED LENS MOTOR CLM-4


Also unveiled at IBC, was a new Controlled Lens Motor CLM-4, available with various different
gear modules. Flexible and highly affordable, the CLM-4 is a compact and lightweight lens
motor which is faster and quieter than the CLM-2. The CLM-4 will prove especially useful in tight
situations with limited space, since the gear modules can be mounted either side of the motor.
The motor offers rod-to-rod mounting options, as well as the standard rod bracket. The clamp
console is adjustable and, crucially, the motor cable is detachable, allowing quick and easy
on-set maintenance and trouble-shooting.
35

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ARRI Media Services:


Projects & People
New Chief Executive for the ARRI Rental Group
ARRI has appointed Martin Cayzer as Chief Executive of its global network of camera and
lighting rental operations. In this new role, Cayzer will have global responsibility for ARRIs
diverse rental businesses and service capabilities, with plans to extend global reach, grow
the customer base and enhance market leadership.

MARTIN
CAYZER

Prior to joining the ARRI Rental Group, Cayzer served


as Managing Director of Panavision Asia Pacific for
13 years, responsible for its own operations and third
party distributors throughout the region. He has 30
years experience through roles in a number of industry
organizations in the UK, New Zealand and Australia,
serving on the Board and as Chair of the Australian
organization Ausfilm; a partnership organization
between private industry and government responsible
for connecting the international film community with
Australias screen incentives, talent and facilities.

Cayzer says, ARRI has a long history at the forefront


of camera, digital intermediate and lighting technology
and with the successful introduction of the ALEXA
camera range and LED lighting systems, continues to
be a leader in an industry in transition. Its exciting to
join ARRI at this particular time as it firmly stakes a key
role in the future of our industry.
The ARRI Rental Group is a large and diverse group
of companies. My role is to grow and link these
businesses to create a truly global rental network that
will support our increasingly mobile customers with the
best technical solutions.

ARRI Media introduces ALEXA Data app


ARRI Media has released ALEXA Data, a free iPhone application that enables users to
determine storage requirements when planning a shoot with any camera from the
ALEXA family.
By inputting the relevant format into the data calculator
(which might be ARRIRAW, uncompressed HD, ProRes
or DNxHD), as well as the frame rate, users can
immediately see how much time, or data capacity, is
required. Simple controls and a single-screen interface
allow a quick decision to be made about how many
SxS cards, data packs and/or external hard drives a
production will need.
The ALEXA Data home page also offers quick links to
the ALEXA User Manual and Pocket Guide WebApp.
To download the ALEXA Data app, search ALEXA
Data in the iTunes App Store.

36

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VISIONARRI

ARRI Lighting Rental ready to equip lighting


directors with ARRI L-Series LED fixtures
ARRI Lighting Rental in London now has significant stock levels of the ARRI L7-C LED-based
Fresnel lamp. The versatility, efficiency and performance of the L7-C will appeal to lighting
directors working on a diverse range of production types, allowing ARRI Lighting Rental to
expand into the broadcast market and build on its core business of supplying lighting
packages to major feature film and TV drama productions.
The L7-C is the top-of-the-range lamphead from ARRIs
L-Series, first launched in 2011 and now recognised
as a breakthrough in the integration of LED technology
into the film and broadcast industries. L-Series fixtures
reduce electricity usage by 75%, permitting huge
savings to be made in studio environments and greatly
diminished power needs on location. Further savings
are brought about by the exceptional life span of the
LED light engine, which lasts around 200 times longer
than a conventional tungsten bulb.
This extreme efficiency, coupled with the high quality
of light output for which ARRI is world-renowned,
makes L7-C lamps uniquely interesting to lighting
directors for outside broadcasts or events, as well as
the traditional situations in which a Fresnel might be
used. The fixtures precise control of color temperature
and plus/minus green provides further creative options
to lighting professionals.

The L7-C is a fascinating and versatile lamp, says


Tommy Moran, Managing Director of ARRI Lighting
Rental. LED is here to stay and the L7-C brings
quantifiable benefits in terms of being eco-friendly
and drawing very little current. Of course, thats doing
myself out of revenue from generators, and the total
color control of the L7-C also does away with the need
for gels, but I have no doubt that these lights represent
a big part of the future.
Also reflecting ARRI Lighting Rentals dedication to
providing customers with a wide range of the most upto-date fixtures from ARRI is the companys inventory
of M-Series lights. The ARRIMAX, M18 and M40/25
lampheads all feature ARRIs groundbreaking MAX
Technology reflector design, which eliminates the need
for spreader lenses and combines the advantages of a
PAR with those of a Fresnel. The M-Series fixtures
already on the shelf at ARRI Lighting Rental will soon
be joined by the latest member of the family the
M90/60 an affordable 9K HMI with light output
close to that of a 12K, but similar in size and weight
to a 6K, so easier to transport.
The ARRI Rental Groups commitment to stocking the
latest and most advanced fixtures across the group
means that L7-C fixtures will also be available from
ARRI Rental Germany as of January 2013.

37

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ARRI Media Services:


Projects & People
ARRI Film & TV opens in the heart of Berlin
In October ARRI Film & TV opened a second location in Berlin. Now, in addition to
Hohenzollerndamm, there is also a facility in Auguststrae 48, right in the creative
heart of the capital.
ARRI Mittes core business is postproduction for feature
films and commercials. The new ARRI flagship facility
is spearheaded by Frieda Oberlin, Head of
Production Feature Films, and Wolf Bosse,
Head of New Business Development.
Bosse studied graphic design in Braunschweig and
Berlin. During the nineties he freelanced as a creative
director, working for various productions in the
German-speaking world and in New York. Between
1998 and 2000 he worked for ARRI Munich as a
Senior Digital Artist and then went on to join the
management team of Pictorion das Werk in Berlin.
In February 2012 he returned to ARRI, bringing his
extensive experience and insider knowledge
particularly in the realm of motion graphic design and
on-set supervising to the newest ARRI facility in Berlin
Mitte. VisionARRI asked Bosse about the concept
behind ARRIs latest Berlin venture.

VA:

What will ARRI Mitte be focusing on?

WB: We see ourselves as a creative addition to the


ARRI locations at Hohenzollerndamm in Berlin and
Trkenstrae in Munich. This allows us to provide the
full range of services to our clients. We provide
everything digital postproduction has to offer: digital
grading, visual effects, compositing and editing, as well
as developing motion graphic concepts. We also have
our own grading cinema with 2K projection right here
in the center of town.
VA: What projects are you currently working
on and who are your clients?
WB: Frieda Oberlin and I were able to bring Til
Schweigers company, Barefoot Films, to ARRI Mitte and
so far we have worked on three of their feature films:
Guardian Angel, Kokowh 2 and Grossstadtklein
the directing debut of Tobias Wiemann, which Til
Schweiger and Tom Zickler produced. These were the
first digital productions for Barefoot Films, shot on the
ALEXA provided by ARRI Rental Berlin. Most recently,
we have finished color grading Matthias Schweighfers
new movie Schlussmacher, also shot on ALEXA.

We are also very well connected in Berlins


advertising world and are working on campaigns for
Nikon, Hornbach, BMW and Audi. In other words,
all the major advertising agencies interested in
moving images.

What was the reason for opening


a second ARRI location in Berlin?

VisionARRI:

Wolf Bosse:

Clearly the proximity to our customers.


Many directors, DPs, production companies and
advertising agencies are working in the vicinity. Its the
perfect location for another full-service postproduction
facility. We are located in our own town house, a
charming location, with a close-knit team of 14 people.
And we offer parking, a major plus in this part of town,
although most clients walk or ride their bikes. Our bike
rack is always crowded.

38

Other projects include director Pepe Danquarts


Run, Boy, Run!, which we color graded, as well as
a project for Wim Wenders company, Neue Road
Movies, called Kathedralen der Kultur a 10-part
TV documentary in 3D and 2D about the souls of
buildings such as the Berliner Philharmonie. We are
also in talks to work on Wenders next feature film,
Everything Will Be Fine.
We should also mention the music video for the popular
German band Tote Hosen and the new Berlinale trailer.
We are purposely mixing things up a bit.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 39

VISIONARRI

ARRI MITTE: Philipp Orgassa,


Matthias Schweighfer, Bernhard Jasper,
Hannah Lea Maag, Dan Maag (left to right)

VA: You mentioned commercials. Whats


ARRI Mittes USP when dealing with that
group of customers?
WB: We are not only attracting clients working nearby,
but also have access to a large pool of digital artists.
Animation directors, art directors and designers, both
local and international, find our new setup very
appealing. In other words, ARRI Mitte doesnt just offer
our clients all the technological novelties, but also a
complex and multifaceted creative service right on their
doorstep, which makes us an active player in the field.

Technology-wise, ARRI Webgate is another USP: a


fantastic tool, currently used primarily in the feature film
world for rushes, that I would like to introduce to the

advertising world. Im convinced that Webgate is a


tool that will take commercial production to a whole
new level, for example, when viewing various edits
and to compare deliveries. This will facilitate the
decision-making process on international productions,
especially for agencies with offices on different
continents. Even though the advertising and feature film
worlds will use Webgate quite differently, the tool as
such will prove incredibly useful for both, thanks to its
clear logistics, easy log-in process, quick data
transmission and, last but not least, its elegant appeal.
ARRI has just begun to make the results of its extensive
research and development efforts in the realm of
feature film production available to the advertising
world. So theres a great deal of opportunity here.

ARRI Sound acquires Jrn Poetzls legendary foley studio


When Poetzl, one of the most renowned foley artists in
Germany, decided to retire he surprised everyone at
ARRI Sound with an offer to sell his studio in Munich
Giesing, including the entire prop collection he had
accumulated over the years. Over the course of his
long career Poetzl had created sounds for hundreds of
productions, including popular films such as Run Lola
Run, Resident Evil, The Miracle of Bern, Good Bye,
Lenin! and The Baader Meinhof Complex. We were
presented with an amazing opportunity to acquire the
entire inventory that this master of his trade had
amassed over his career, says Sound Division
Manager Daniel Vogl. For us, it also meant we could
hit the ground running, working with the best catalogue
of foley props out there. ARRI Foley Artist Michael
Stancyk will now call the foley studio his home.

Bringing Poetzls studio into the ARRI family helped


ease some logistical problems at ARRI Sound.
Up until now, we used one studio for both voice and
foley recording, notes Vogl. This required frequent
set up changes, costing valuable time. Now the studio
that was previously shared is exclusively used as an
ADR recording studio for feature films.

FOLEY ARTIST
Michael Stancyk

39

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ARRI Media Services:


Projects & People
Mortimer Warlimont joins ARRI Media Services as
Visual Effects Supervisor

MORTIMER
WARLIMONT

Mortimer Warlimont joined the ARRI VFX team in April to provide customers with creative, conceptual and
technical support. Warlimont gained his extensive experience working in special effects for film, TV and
commercials. After graduating from high school he studied analog SFX and model making. In 1996 he joined
Magicon GmbH as a senior model maker and was responsible for commercials for McDonalds, Burger King,
BMW, MediaMarkt, Toyota, Ferrero, VOX and Pro7, to name but a few, as well as feature films such as
The Thirteenth Floor, Anatomy 1 & 2, Arac Attack and the Emmerich films The Patriot and 10,000 B.C. He then
made the transition from SFX into VFX due to an ever growing demand for VFX from film as well as TV production
companies. After freelancing for more than three years as a compositing artist, Warlimont joined Scanline VFX
as a Senior Compositing Artist in 2007 and worked as lead compositor on international projects such as
The Chronicles of Narnia: Prince Caspian, 2012, The Ghostwriter, Immortals, Looper and, last but not least,
Marvels The Avengers, as well as on local fare, including Lissi and the Wild Emperor, Wickie the Viking and
Desert Flower. VisionARRI spoke to the new VFX Supervisor and to ARRI Head of VFX Dominik Trimborn about
the organizational changes resulting from the expansion of the VFX team.
Which areas at ARRI VFX will be
strengthened by the incoming supervisor?

VisionARRI:

Dominik Trimborn: The rapid growth of the ARRI VFX


division has to be handled properly. The number of
projects has doubled in the last two years, while the
size of our team has remained the same. At the same
time, prices in the VFX sector have dropped drastically.
We can only compensate for that by continuing to
improve communication and adopting a seamless
operating pipeline for current projects. David Laubsch
and Stefan Tischner are two excellent supervisors in
charge of operations, but we needed someone who
could take over the task of assisting the customers,
creatively and technically. Also, as head of ARRI VFX,
Im responsible not only for the Munich offices, but also
for Berlin and Cologne. That, sadly, leaves me less and
less time to work directly with our customers. Mortimer
will also lend a hand to Abraham Schneider, whos
taken on the role of Technical Director and, as such,
is in charge of optimizing, overseeing and technically
standardizing the organization and infrastructure of
the ARRI pipeline that connects Munich, Berlin and
Cologne, which is used for asset management
purposes. The main goal for 2013 is to continue
to streamline the structure and logistics of these
ARRI VFX locations.

A question for the new VFX Supervisor:


What are your strengths?
VA:

Mortimer Warlimont:

Im very result-oriented. The main


questions for me are: whats the goal and whats the
quickest way to accomplish the task at hand? Even if

40

there is a standardized procedure in place already,


its always exciting to find an even simpler and more
efficient solution. That might be a trait of people, like
myself, who are self-taught because most of what I know
I taught myself early on and have since perfected.
VA: What are your expectations related to
your new position at ARRI?
MW: Most of all, to be in direct contact with customers
and to help shape the overall projects they are working
on. To not just complete a few shots on the computer,
but to work on the concept, to create designs and to
ensure that it all makes sense that the artwork and the
look really work for the story the client is trying to tell.
VA:

What can customers expect from you?

MW: Because of my background I bring extensive on-set


experience to the table. I really like being on the set
and think you only understand DPs and directors when
you work side by side. Plus, I know VFX and SFX very
well. It allows me to help clients find the best possible
solutions, whether VFX solutions or in-camera shots,
early on in the planning stages of a project.
VA: Do you see yourself more as a creative
person or a technical guy?
MW: I try to combine the creative with the technical,
to be creative in a way that is technically and
economically feasible. It is also my job to ensure that a
project is completed in the time allotted and meets the
highest quality standards, thereby ensuring the best
possible results for the customer.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 41

VISIONARRI

ARRI Worldsales grows its portfolio


Family entertainment made in Germany is enjoying enormous popularity worldwide
and is quite successful at the international box office, says ARRI Acquisitions & Sales
Director Moritz Hemminger. Thats why ARRI Worldsales has added three more titles
to our growing catalog.

The first of the three is Die Vampirschwestern


(Claussen+Wbke+Putz Filmproduktion; director:
Wolfgang Groos) based on Franziska Gehms
eponymous and successful childrens book series. After
screening the trailer, presales were completed for the
Benelux countries and also Estonia. The response at
the American Film Market (AFM) showed that teen
vampires, thanks to Twilight, are still popular, says
Hemminger. We are currently in final negotiations
with several other international distributors. Die
Vampirschwestern screened in the highly regarded
Enfant Terribles section at the renowned FICX
International Film Festival in Gijn.

to potential buyers at the Toronto Film Festival in the


form of a special promo. Another title is Die andere
Heimat (ERF Filmproduktion Mnchen), from the
renowned director of the Heimat family saga, Edgar
Reitz. A teaser of the film was presented in Venice.
Its a tradition because all the films in the Heimat
series have had their world premier in Venice,
explains Antonio Exacoustos, Head of ARRI
Worldsales. Reitz is held in high esteem in Italy.
Both titles were also presented at AFM. We are
aiming to premiere both of these films at A-list festivals
next year, some of whom have already expressed
interest, adds Exacoustos.

Another family entertainment highlight is V8


Du willst der Beste sein (Rat Pack Filmproduktion,
B.A. Filmproduktion/ARRI), the latest franchise from
Wild Soccer Bunch creator, writer and director
Joachim Masannek. This time the story is set in the
world of go-cart racing, with characters that not
only race, but also build their own carts.

The current hot-button issue, the banking crises and its


effects on peoples lives all over the world, is the topic
of another film in ARRI Worldsales portfolio: The
Domino Effect (The Domino Effect B.V.), from Dutch
director Paula van der Oest, whose film Zus & Zo was
nominated for an Oscar in the category Best Foreign
Language film. The Domino Effect was presented
recently at the Warsaw and Busan Film Festivals and
at AFM.

The third title, an absolute classic, promises to


garner a great deal of attention in 2013 due to
its impressive visual effects: Das Kleine Gespenst
(Claussen+Wbke+Putz Filmproduktion, B.A.
Filmproduktion/ARRI; director: Alain Gsponer),
based on Otfried Preulers wildy popular childrens
book that has been translated into 30 languages.
ARRI Worldsales is also offering some notable dramas
such as Exit Marrakech (Desert Flower Filmproduktion,
B.A. Filmproduktion/ARRI), the latest film from Oscarwinning director Caroline Link, which was introduced

In Ourense, Sao Paulo and at AFM, ARRI Worldsales


presented Little Thirteen (X Filme Creative Pool) to
potential buyers. The student film and graduation
project of director Christian Klandt (HFF Potsdam)
takes a look at the shocking life of the porn
generation, adolescents in Berlin incapable of
forming emotional connections who resort to sex
in order to experience closeness.

41

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ARRI Media Services:


Projects & People
A full schedule for ARRI Film & TVs VFX department
Its been an eventful second half of 2012 for ARRI Film & TVs VFX department and there
wont be much downtime in 2013.

Things around here didnt slow down over the


summer, ARRI Head of VFX Dominik Trimborn is
proud to report, looking back on a number of
completed projects. And there wont be any
downtime between now and the end of the year.
Among the recent projects: the Wachowski/Tykwer
epic Cloud Atlas (X-Filme Creative Pool), a film based
on childrens book series Die Vampirschwestern
(Claussen+Wbke+Putz Filmproduktion) and Rubinrot,
the first film from the teen romance and time travel
trilogy Liebe geht durch alle Zeiten (Lieblingsfilm,
mem Film, Concorde, Geiendrfer).
But ARRI VFX also tackled some interesting challenges
on Ludwig II (Bavaria Pictures, Warner Bros.). The
biopic about the Bavarian fairy tale prince Ludwig II
included a number of dream sequences, one of which
shows him riding across Lake Starnberg on horseback.
That was a rather complex shot. The horse had to be

42

filmed in front of a greenscreen, while the water and


the mountains for the background had to be generated
on the computer, explains ARRI VFX Supervisor
Abraham Schneider. Water simulations are one of
the most demanding tasks of VFX work because its
incredibly hard to make it look realistic. Other
highlights include scenes showing Neuschwanstein
Castle under original construction, for which in-camera
shots had to be combined with 3D set extensions, and
a scene where Munichs Odeonsplatz had to be filled
with 3,000 people for a wide shot. In order to keep
the lighting consistent, recalls Schneider, we had to
shoot extras one at a time in front of the greenscreen
and later create a crowd, adding them to the final shot
on the computer.
The rest of year belongs to V8 Du willst der Beste sein
(Ratpack Filmproduktion, Universal), a family movie for
race cart fans from director Joachim Masannek.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 43

VISIONARRI

Upcoming projects include: Leander Haumanns


Hai-Alarm am Mggelsee, the kidnapping drama
3096 Natascha Kampusch (Constantin), directed by
Sherry Hormann; the high-profile TV movie Der Fall
Hagedorn (ARD-WDR, Westside Filmproduktion),
about a dramatic child kidnapping case in former
East Germany; and the Norwegian project Pioneer,
for which ARRI VFX Cologne will create numerous
3D underwater sequences, including a research
submarine. The previz for the shots in question are
already completed and 3D modeling is underway,
says Trimborn. Meanwhile, the VFX team in Munich is
looking forward to compositing the 3D elements for the
adaptation of the classic childrens book Das kleine
Gespenst (Claussen+ Wbke+Putz Filmproduktion).
Its one of the most VFX-heavy projects ever to be
completed in Germany and will be released
theatrically in 2013.

ARRI Sound Munich invests in studio technology


and infrastructure

ARRI Sound has acquired a new backend (Harrison


XRange) for its largest sound studio, Stage 1 (roominside-a-room construction, 220-square-meter room
with 42-square-meter screen). The new mixing console
of Stage 1 now has 336 channels, instead of 160,
offering more than twice the capacity. Studio A
(80-square-meter room with 20-square-meter screen)
has had a major upgrade as well. The backend has
been exchanged and now offers 160 input channels,
therefore doubling the studios performance. Also
upgraded was the Avid Pro Tools hardware, thereby
bringing all ARRI sound departments, including Berlin
and Cologne, technically up to date. Consolidating
the technology and the fact that both studios, Munich
and Berlin, are now acoustically at the same standard
makes data swaps more or less seamless. Plus, the
members of ARRIs sound team are extremely flexible
and dont mind spending a few weeks in Berlin
instead of Munich, says ARRI Creative Sound Division
Manager Tschangis Chahrok-Zadeh.

We wanted to make Studio A more interesting for


feature films with a mid-range budget films that cant
afford a sound mix on Stage 1 but need more technical
capabilities than Studio A previously offered, says
ARRI Sound Division Manager Daniel Vogl, explaining
the recently implemented changes. We believe weve
closed a crucial gap for our customers. Stage 1 is now
available for premium, high-end productions, while
Studio A offers the perfect solution for feature films
with a medium-size budget.
Chahrok-Zadeh adds: Until now we couldnt properly
service those films because we had to switch studios
during the workflow. This meant we did an initial mix
in Studio A and then, towards the end, moved to
Stage 1. Now we are able to complete smaller
projects, from start to finish, in Studio A. This also
means our customers save money because they get
more for the same price.

43

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ARRI Media Services:


Projects & People
ARRI Media Services supports the fight against xenophobia
ARRI Rental and ARRI Film & TV recently sponsored a public service announcement (PSA)
by Munichs Lichterkette e.V., supplying camera equipment and handling postproduction.
director Marcus H. Rosenmller, producer
Robert Marciniak and their production company
Lieblingsfilme. Other renowned supporters were
Iris Berben, Doris Drrie, Amelie Fried, Billie Zckler,
and the Sportfreunde Stiller, as well as Munichs
mayor, Christian Ude. ARRI provided all the equipment
(an ALEXA camera, lenses, grip and lighting), as well
as an AVID edit suite and postproduction services
free of charge.
Lichterkette e.V. is a charity that ARRI Media Services
supports wholeheartedly, says ARRI Creative Director
Jrgen Schopper, who was on hand on set as VFX
supervisor during the shoot (DP: Stefan Biebl). As a
Munich-based company of world renown, ARRI wants
to join this plea for tolerance and mutual respect.

ARRI WENT ABOVE AND BEYOND IN SUPPORTING


US AS WE WERE MAKING THIS PSA. NOT JUST
WITH TECHNICAL SUPPORT, BUT WITH IDEAS AND
SUGGESTIONS ON HOW WE COULD REALIZE OUR
VISION, WHICH MADE IT ALL THE MORE FUN FOR
US TO WORK ON THIS PROJECT!
Director Markus H. Rosenmller

In the fall of 1992 several arson attacks on shelters


for asylum seekers were carried out in Germany.
To condemn these crimes four private citizens from
Munich organized a candlelight vigil on December 6,
1992, where more than 400,000 people
gathered to make a stand against xenophobia
and right-wing extremism.
Twenty years later the charity Lichterkette e.V. is
commemorating these events with a public service
announcement called Mnchen schaut hin! (Munich
doesnt turn a blind eye), which will premiere during
an event at Munichs Literaturhaus. It is also an appeal
to continue to oppose any and all forms of xenophobia
and discrimination, and a reminder that the issues are
still as relevant as ever.
Lichterkette e.V. was able solicit the help of numerous
famous supporters to create this PSA, among them

44

In Mnchen schaut hin! a local resident of a foreign


nationality is brutally attacked in a Biergarten, a
traditional Bavarian outdoor pub. Several onlookers
come to his aide, taking a stand against violence and
hatred. Eventually even the statue Bavaria, a colossal
18-meter monument in Munichs Theresienwiese, joins
in by reaching down, grabbing the perpetrator and
giving him a piece of her mind. For this highlight of
the PSA, ARRI Film & TVs VFX department created a
computer generated 3D model of the statue, applied
the necessary texture and animated it.
Two versions of the Mnchen schaut hin! PSA were
created: a longer version for use in movie theaters
and a shorter one for broadcast purposes and for
display on digital screens in subway stations and
other public places.

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 45

VISIONARRI
ON LOCATION: DP Stefan Biebl, director Marcus H. Rosenmller and ARRIs Creative Director Jrgen Schopper (left to right)

ARRI VFX Team


Head of VFX: Dominik Trimborn

Compositing Trainee: Christina Greiner

VFX Producer: Nina Knott

Head of 3D: Michael Koch

VFX Creative Director: Jrgen Schopper

3D Artist: Markus Hund

Senior Compositing Artist: Stefan Tischner, Mortimer Warlimont

3D Trainee: Kim Karic

Compositing Artist: Thomas Hansen

ARRI identifies projects to co-produce


Cherry-picking from among a large selection of possible candidates, those in charge at
B.A. Filmproduktion/ARRI are confident they have chosen the most promising productions
to co-produce.
Exit Marrakech from Oscar-winner Caroline Link
(Desert Flower Filmproduktion), V8 Du willst der
Beste sein from Wild Soccer Bunch author Joachim
Masannek (Rat Pack Filmproduktion), the war drama
Run, Boy, Run! (director: Pepe Danquart; ARD-BR) and
the tragicomedy Sein letztes Rennen (director: Kilian
Riedhof; Neue Schnhauser Filmproduktion)
are projects we have recently decided to co-produce
because we see their potential, not just for the German
but also the international market, says Antonio
Exacoustos, ARRI Head of Worldsales and Production.
Locally, the search for interesting co-productions will
most likely focus on Berlin and possibly the state of
North Rhein-Westphalia, suggests Exacoustos.

Internationally, the emphasis will be on large,


English-language co-productions with family-oriented
content. Prestigious art house projects from renowned
directors, explains Acquisitions & Sales Director
Moritz Hemminger, are also an exciting option
and definitely fit the producing strategy that ARRI
is pursuing.
Becoming a member of the European Producers Club
(EPC) was, according to ARRI Worldsales Consultant
Wolfram Skowronnek-Schaer, another step in the right
direction. It allows ARRI to take an early look at
projects, often still in the writing stage, to evaluate
possible participation options and the projects world
sales potential.

45

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:33 Page 46

PRODUCTION UPDATE

ARRI RENTAL
Title

Production Company Director

DoP

Equipment

Das kleine Gespenst

Alain Gsponer

Matthias Fleischer

ARRI ALEXA

Gerhard Schirlo
Jana Marsik

ARRI ALEXA
ARRI ALEXA, Lighting, Grip

Kokowh 2
A Most Wanted Man

Holger Haase
Leander Haumann,
Sven Regener
Til Schweiger
Anton Corbijn
Jim Jarmusch
Erik Skjoldbjrg
Pepe Danquart

Yorick le Saux
Jallo Faber
Daniel Gottschalk

Claussen+Wbke+Putz
Filmproduktion
Da geht noch was!
Olga Film
Hai-Alarm am Mggelsee X Film Creative Pool

Only Lovers Left Alive


Pioneer
Run, Boy, Run!

Barefoot Productions
A Most Wanted Man
Production
Pandora Film
Pandora Film
bittersuess pictures

The Borgias (Season 3)

Mid Atlantic Film

Crossing Lines

Stillking Films, Tandem


Communications

Zappelphilipp

Neue Schnhauser
Filmproduktion
Hager Moss Film

Lena Fauch und die


Pflicht zu schweigen
Tatort Macht und
Ohnmacht

X Film Creative Pool

Neil Jordan,
John Maybury
Daniel Percival
Andy Wilson, Eric Valette
Hettie MacDonald
Hannu Salonen
Connie Walther

Adrian Cranage
ARRI ALEXA
Benoit Delhomme AFC ARRI ALEXA, Lighting, Grip
ARRI ALEXA
ARRI ALEXA, Lighting, Grip
ARRICAM Studio & Lite 2-perforation,
ARRI ALEXA, Lighting
Paul Sarossy BSC, CSC, ARRI ALEXA, Lighting, Grip
Pierre Gill
Laurent Bars
ARRI ALEXA, Lighting, Grip

Birgit Gudjonsdotztir

ARRI ALEXA, Lighting, Grip

Johannes Fabrick

Helmut Pirnat

ARRI ALEXA, Lighting, Grip

Thomas Stiller

Phillip Sichler

ARRIFLEX 416, Lighting, Grip

ARRI LIGHTING RENTAL


Title

Production Company

Director

DoP

Gaffer

Best Boy

The World's End


Red 2

Blank Pictures
R2 Productions

Edgar Wright
Dean Parisot

Philomena
Belle
One Chance
The Two Faces
of January
Game of Thrones
(Season 3)

Philomena Lost Child


Pinewood Films No.3
One Chance Films
Zelus Pictures

Stephen Frears
Amma Asante
David Frankel
Hossein Amini

Bill Pope ASC


Enrique Chediak
2nd Unit:
Harvey Harrison BSC
Robbie Ryan BSC
Ben Smithard BSC
Florian Ballhaus
Marcel Zyskind

John Colley
Andy Long
2nd Unit:
Steve Foster
Andy Cole
Mike Chambers
Paul McGeaghan
Mark Clayton

Darren Harvey
Mark Hanlon
2nd Unit:
Anthony Goulding
Paul Cronin
Steve Odonaghue
Will Kendal
Benny Harper

Fire & Blood Productions

Alik Sakharov

David Katznelson BSC


Chris Seager BSC

Vikings

World 2000,
Take 5 Productions
Cowboy Films
Universal Media
Studios International
Carnival Film & Television

Ciaran Donnelly
Johan Renck
Kevin Macdonald
Christopher Guest

John S. Bartley

Dragon Unit:
Tom Gates
Wolf Unit: Rocky Evans
Terry Mulligan

Dragon Unit:
George White
Wolf Unit: Mark Gay
Kevin Scott

Franz Lustig
Roberto Schaefer ASC, AIC

Mark Clayton
Larry Prinz

Benny Harper
Richard Potter

Geoff Sax

David Higgs

Dan Fontaine

Terry Montague

STV
Romer Films

Marek Losey
Edward Hall

Balazs Bolygo HSC


David Higgs BSC

Warren Ewen
Dan Fontaine

Kudos (L&O)

Matt King

Simon Archer BSC

Chris Bird

Anthony Goulding
John Walker/
Chris Mortley
Toby Flesher

Selfish Giant Film


Big Talk Productions
Daybreak Pictures

Clio Barnard
Richard Laxton
Simon Cellan Jones

Mike Eley BSC


Tim Palmer
Tony Slater-Ling

Paul Murphy
Colin Thwaites
Paul Murphy

Peter Gilmour
David Owen

How I Live Now


Family Tree
Murder on the
Homefront
The Poison Tree
Restless
Law & Order: UK
(Series 4)
Selfish Giant
Him & Her
The Politicians
Husband

BSC

ARRI CSC
Title

Production Company DoP/Lighting Director Gaffer

Noah
The Wolf
of Wallstreet

Paramount
Paramount

Matthew Libatique ASC


Rodrigo Prieto ASC, AMC

The Americans FX Networks/USA


Elementary
CBS
Delivery Man Dreamworks

Richard Rutkowski
Ron Fortunato ASC
Eric Edwards

Graceland
Wish You Well
The Voice
Homeland

Edward Pei ASC


Frank Prinzi ASC
Alex Van Wagner
Nelson Cragg

46

Fox Television
Wish You Well, LLC
Finnmax
Pacific 2.1

John Velez
Bill OLeary

Equipment

ARRICAM, HD-IVS
ARRICAM, HD-IVS,
ARRI ALEXA Studio, Codex
Recorders, Lighting & Grip
Jimmy Dolan
ARRI ALEXA, Lighting & Grip
Kevin Janicelli
ARRI ALEXA, Lighting & Grip
Ken Shibatta
ARRICAM, HD-IVS,
Lighting & Grip
Fred Valentine
ARRI ALEXA
Doug Shannon
ARRI ALEXA, Lighting & Grip
Oscar Dominguez Automated Lighting
Tommy Sullivan
ARRI ALEXA

Serviced by
ARRI CSC NJ
ARRI CSC NJ
ARRI CSC NJ
ARRI CSC NJ
ARRI CSC NJ
ARRI CSC FL
Illumination Dynamics NC
Illumination Dynamics LA
Illumination Dynamics NC

10729 Vision ARRI 14 AW5_A4 15/11/2012 12:24 Page 47

VISIONARRI

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURES


Title

Production Company

Fnf Freunde 2
Sam Film
Da geht noch was! Olga Film
Der Kanal
Zum Goldenen
Lamm Filmproduktion
Grostadtklein
Barefoot Film
Hai-Alarm am
X Filme Creative Pool
Mggelsee
Lagerfeuer
zero one film
Ostwind
Sam Film
Pioneer
Pandora Film
Rubinrot
Lieblingsfilm
Run, Boy, Run!
bittersuess pictures
Schlussmacher
Pantaleon Film
Sein letztes Rennen Neue Schnhauser
Filmproduktion
V8 Du willst der Rat Pack Filmproduktion
Beste sein

Director

DoP

Services

Mike Marzuk
Holger Haase
Marc Rensing

Bernhard Jasper
Gerhard Schirlo
Tom Fhrmann

Digital Dailies, DI, HD-Mastering, Sound, Lab


Digital Dailies, DI, HD-Mastering, Lab
Digital Dailies, DI, HD-Mastering, Sound, Lab

Tobias Wiemann
Leander Haumann,
Sven Regener
Christian Schwochow
Katja von Garnier
Erik Skjoldbjrg
Felix Fuchssteiner
Pepe Danquart
Mathias Schweighfer
Kilian Riedhof

Martin Schlecht
Jana Marsik

Digital Dailies, DI, HD-Mastering, Sound, Lab


Digital Dailies, DI, HD-Mastering, Sound, VFX, Lab

Frank Lamm
Torsten Breuer
Jallo Faber
Sonja Rom
Daniel Gottschalk
Bernhard Jasper
Judith Kaufmann

Lab, Rushes, DI, HD-Mastering


DI, HD-Mastering, Sound, Lab
VFX, DI, Lab
VFX
Lab, Rushes, DI, HD-Mastering
DI, Lab
Digital Dailies, DI, HD-Mastering, Lab

Joachim Masannek

Benjamin Dernbacher

Digital Dailies, DI, HD-Mastering,


Sound, VFX, Lab

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALS


Client

Title

Agency

Production

Director

DoP

Redcoon
McDonalds
Carrera
McDonalds

So viel Billig gabs noch nie


Independent und Kids
Go und RC
Junge Liebe und
Schlaflied
Shape 12/2012

Neverest
Heye & Partner

Mr. Bob Film


Tony Petersen Film
e+p commercial
Markenfilm Crossing

Sven Bollinger
Rey Carlson
Reiner Holzemer
Gregor Schnitzler

Thomas Krzl
Peter Mayer
Peter Aichholzer
Andi Berger

Food Httengaudi
EOFT 2012
Messebespielung Paris
Olympia London 2012
Perlweiss Schnheitszahnweiss

Heye & Partner

Ernst Kalff
Diverse

Sebastian Cramer
Diverse

Rico Reitz
Jan Voss

Murnauer
Nik Summerer

MVG Medien
Verlagsgesellschaft
mbH & Co
McDonalds
EOFT
Skoda
BMW
Markenvertrieb GmbH

Heye & Partner

welovefilm

BECC
lucie_p
Bloom Project

Rapid Eye Movement


HelliVentures
lucie_p
lucie_p
Lthje Schneider Hrl Film

ARRI MEDIA
Title

Production Company

Molly Moon:
Amber Entertainment
The Incredible Hypnotist
Red 2
R2 Productions
Sunshine on Leith
DNA Films,
Black Camel Pictures
Kick-Ass 2
Marv Films
Southcliffe
Warp Films
The Two Faces
Zelus Pictures
of January
Game of Thrones
Fire & Blood Productions
(Season 3)
The Royle Family
Jellylegs Productions
Christmas Special
The Caf (Season 2)
Jellylegs Productions
Calvary
Octagon Films
Call the Midwife
(Season 2)
Mr Selfridge

Director

DoP

Christopher
N. Rowley
Dean Parisot
Dexter Fletcher

Remi Adefarasin

Enrique Chediak
George Richmond

ARRI ALEXA Studio & Plus 4:3,


Codex Recorders, Grip
ARRICAM Lite, HD-IVS, ARRIFLEX 435 & 235, Grip
ARRI ALEXA Studio, Master Primes

Jeff Wadlow
Sean Durkin
Hossein Amini

Tim Maurice-Jones
Matyas Erdely
Marcel Zyskind

ARRI ALEXA Studio, Codex Recorders, Grip


ARRI ALEXA, Master Primes, Grip
ARRI ALEXA Plus 4:3, Grip

Alik Sakharov

David Katznelson
Chris Seager BSC
Jeremy Hiles

Caroline Aherne

Equipment
BSC

BSC

ARRI ALEXA, Codex Recorders, Grip


ARRI ALEXA

David Marsh
Larry Smith BSC

ARRICAM Studio & Lite 3-perforation


ARRI ALEXA

CTM Productions

Robin Sheppard
John Michael
McDonagh
Minkie Spiro

Simon Archer BSC

ARRIFLEX D-21, Grip

ITV Studios

Michael Keillor

Owen McPolin

ARRI ALEXA, Alura Zooms, Grip

In the last edition of VisionARRI, the surname of Martin Schlecht was spelled incorrectly within the production update list of ARRI Film & TV - Features. We would like to apologise for the mistake.
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.

47

10729 Vision ARRI 14 AW5_A4 15/11/2012 11:40 Page 48

THE PERFECT PARTNERSHIP:


ALEXA & THE ARRI RENTAL GROUP
Combine ALEXA with the ARRI Rental Groups unrivalled knowledge and experience
in supplying high-end cameras and youve got the perfect partnership.
With the addition of the ALEXA Studio, ALEXA M and ALEXA Plus 4:3, the
ARRI Rental Groups family of ALEXA cameras has grown into a versatile production
system that can accommodate all styles of filmmaking, including anamorphic.
Whichever of the ALEXA cameras or many ALEXA output options best suits

THE MOST COMPLETE DIGITAL CAMERA SYSTEM EVER BUILT

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