Issue

June 1997

R E P O R T S :

Bandits Asteroid Shine

Le Plus Beau Metier Du Monde American Werewolf
O N

L O C A T I O N :

Shift & Tilt System Variable Primes

P R O D U C T S :

LOCPRO 35 ARRI X

37

Asteroid

A Smashing Success for NBC and Stargate

ry
BC Februa
ir ed on N
, which a
ngs due in
ti
A STEROID
w high ra
t
17th, dre
nches. Inh a budge
16th and
ods. Avala
ffects. Wit
kes. Flo
of the
265
unning e
st
n
arthqua
s. The end
fe w e r th a
part to it's
cataclysm
n and no
rk for
as deterstellar
ER O ID w
$ 1 9 m il li o
day at wo
of
other
n e s, A ST
o, just an
ff e c ts sc e
CEO of
during
p
world? N
sp e c ia l e
sident and
ver the to
olson, Pre
catastroput NBC o
ploding
Sam Nich
signed to
e rock, ex
on of these
s. Creati
. A hug
gling
not to
ilm
eek
bog
Stargate F
gwhat's
Sweeps W
ther mind
t
ople fleein
d trade.
ozens of o
d
pe
t Presiden
ck an
phes and
buildings,
tertainmen
rgate's sto
hieve it.
iences
s NBC En
ects is Sta
d
e
ac
special eff
arently au
love? rav
, they can
field. App
e comimagine it
ably can.
arr en Little
lly blew th
If you can
Sam prob
W
ra
gine it,
O ID li te
ASTER
't ima
If you can
agreed as
ate
ars, Starg
n away.
petitio
eight ye
od's
ce for only
re , li v e
f Hollywo
In existen
o f m in ia tu
me one o
d
to beco
rily due
m b in a ti o n
n
o
ma
lson create
has grow
U si n g a c
houses pri
cts, Nicho
fo u n d e r,
d CGI effe
lific effects
had only
s
rs
most pro
action, an
sp ir it o f it
d produce
p re ss ib le
nd Stare for this
writers an
to th e ir re
tly, Sam a
what the
ra of choic
NBC
's came
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the
.M
35ES.
. Sam
service on
Nicholson
R R IF LE X 4
imagined
re asth e n e w A
ressed into
p
as
m, says
y we
gate were
p ro je c t w
f the syste
where the
es among
ersatility o
s ASTEROID
v
for a vari
Dalla
Mini Serie
I like the
estroying
d the 435
, We use
ts w e re
e duty of d
cranking,
c
r
signed th
Nicholson
lt in g e ff e
nking, ove
s. T h e re su delivered on time,
, under cra
o th e r ta sk
,
ing.
ty of shots
ble
ryth
r, believa
ntr ol, eve
spectacula
motion co
udget.
rb
n d e r is a
and unde
3 5 v ie w fi
a
ti o n , th e 4
ac
We sp e n t
F o r li v e
a t n ig h t.
at we
e sp e c ia ll y
r th
li fe sa v e r,
in a c ra te
sh o o ti n g
ooting in
lo t o f ti m e
ck lot. Sh
our ba
always
d on
e effects is
had create
with smok
ess
roblem,
the darkn
435, no p
. With the
e
t all unua challeng
It is not a
ers
continues.
tight quart
Nicholson
up in very
s.
miniature
ave to set
shoot
sual to h
e
l angle to
s th
nusua
r si m p li fi e
or at an u
les
v ie w fi n d e
dical ang
ri e n ta b le
get ra
The o
llows us to
.
a
ible
process. It
be imposs
otherwise
at would
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olson
Sam Nich

es ring
The phon
Stargate?
jects
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of new pro
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lengthy list
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re transfe
off the ho
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The
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desk and
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se .
s a n d th e
warriors fo
ic a l re le a
cover Sam
m in ia tu re
es
fo r th e a tr
n se s is
ss e m b li n g
lm
a
new imag
P le
3 5 m m fi
a re b u sy
ists create
th e n e w V
film negrgate's
hum as art
c la ri ty o f
Sta
su p e ri o r
computers
top quality
roval. On
achieve a
aits desite. The
lson's app
i lodge aw
eo compo
essential to
for Nicho
iature sk
igital vid
dds,
a
ad
a min
Nicholson
ay.
ative from
back lot,
hell
markable.
another d
d my Mitc
result is re
tion. Just
end
struc
have use
ly I would
was a we
Normall
. The 435
plate work
ot there
sh
to do the
e time we
nge. At th
Angeles.
come cha
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few 43
d on the
tively
w a crow
were rela
always dre
ra
ut the new
The came
rious abo
ne was cu
o
set. Every
RRI.
A
d th e
c il it y, I u se
u rb a n k fa
od seour B
Back at
re of a flo
t a miniatu
oo
am which
435 to sh
strikes a d
d/
n ASTEROID
35's spee
quence. A
used the 4
town. We
the flood
t
floods the
ity to shoo
mp capac
RCU unit,
shutter ra
r. With the
and ove

over
Mountain
simple.
sequence
Fire on the
ramp was
Nicholson
klish, Sam
ating the
repe
Dave Ku
X, Sam
f A R R IF LE
e
c re a e fr ie n d o
ots of th
late sh
ta l in th e
A lo n g ti m
to shoot p
in st ru m e n
e to
ntrol
was
hanc
e 435
mputer co
o had a c
I used th
N ic h o ls o n
laptop co
e, and als
The
LCC
ylin
The exse s.
Denver sk
a m e ra s.
P ri m e le n
tion of the
nd
Va ri a b le
R R IF LE X c
riable
w
r A
y between
e Va
n Schmit a
u se th e n e
sy st e m fo
azing. Th
technolog
holson, Da
n d th e
ficial for Sam Nic ojot Goldberg
ideas and
on was am
a
f
ne
combinati
change o
b ly sh a rp
s been be
Stephan C
cross
u n b e li e v a
targate ha
ese shots
vir tually a
RRI and S
steady. Th
P ri m e s a re
A
Located
nt is rock
n 's
r ge
men
panies.
o rp o ra ti o
h compute
435's move
both com
R R IF LE X C
r
bined wit
ften
e t fr o m A
any of ou
later com
ployees o
ate. M
were
te em
th e st re
camity, Starga
es at Starg
ig it a l
w
d
cil
ag
pick up ne
p o si te in
erated im
Burbank fa
h we com
to ARRI to
Roadje c ts w h ic
walk over
r NBC, or
p ro
just
OID fo
ducts.
h as ASTER
ghting pro
video, suc
era and li
e full
s realize th
rew help u
ing,
his c
ent. By ask
Sam and
ew equipm
of n
rr e d n e w
potential
o ft e n sp u
Sam has
,
translated
W h a t if ?
eers have
our engin
t
e m e n ts in
ideas tha
o r im p ro v
ra
p ro d u c ts ,
n't ask fo
in to n e w
. We could
ell,
s Bill Russ
g products
, say
existin
le s
r associate
Sa
nd o
better frie
's We st e rn
edge
rp o ra ti o n
the cutting
R IF LE X C o
AR
ays on
He's alw
g ahead.
kin
Manager.
lways thin
nology. A
of new tech

Bandits
A R EPORT

BY

R OLF T HISSEN

ANDITS ,

the first full-length feature film

by the Academy Award and Bundesfilmpreis (German film prize) winner, Katja
von Garnier (A BGESCHMINKT !) opens this
years Munich Film Festival.

For a while, explains Katja von Garnier

during a break in mixing for her new feature film BANDITS, the whole of ARRI was
pretty much hit by B ANDITS -fever. We
filmed with ARRI cameras and developed
the neg in their lab. Also post-production
and digital effects were done here. Wherever you opened a door, you found some
B ANDITS -shots on the screen on which the
ARRI team was doing really good work.
We edited on the Avid the capacity was
increased especially to enable access to
all the stock. The working-print was reedited in the lab and optical effects were
prepared. The titles were prepared on the
Henry, sequences from that colour-timed
on the Cineon, a cord was digitally taken
out from a bungee jump shot, and so on

Katja von Garnier

wrote the script with Uwe Wilhelm. The

result: the Blues Brothers meet Thelma
and Louise. Several very different women, played by Katja Riemann, Nicolette
Krebitz, Jasmin Tabatabai and Jutta Hoffmann, get to know each other in prison
and form the group B ANDITS . On the way
to a police ball at which they are supposed
to play, the four Blues Sisters happen to
get the chance to escape. They cause quite
a sensation in the press, become a cult
band and are hunted the whole time by
a persistent policeman (played by Hannes
Jaenicke). We wont tell you the rest.

This collaboration continues a tradition for

the young director: in 1992 she began
filming the short film ABGESCHMINKT ! on an
ARRIFLEX 16SR 3 in Super 16. Originally
this was only intended as a training film
for the Munich based film and TV college
HFF. But the 55-minute story of a cartoon
artist and her friend who go out together
on a man-hunt and experience a few surprises became the summertime hit of 1993:
together with the short film DER SCHNSTE
BUSEN DER WELT, A BGESCHMINKT! booked over
a million spectators in German cinemas.
tip-magazine wrote about it at the time:
The characters of this training film by
the talented college student, Katja von
Garnier, breathe far more life than the
prattling clichs of a typical comedy about
relationships.

The filming for this seven million DM project

(production: Olga Film) was carried out in
Hamburg, Nrnberg, Bad Neustadt and
Munich. The 14 pop/rock songs performed
in B ANDITS were produced prior to filming
in the Audio Studios Berlin (Udo Arndt) and
dubbed in during filming. Katja Riemann,
Nicolette Krebitz and Jasmin Tabatabai
wrote much of the music themselves, and
Katja learnt to play the drums especially
for the film, and Nicolette learnt bass,
Katja von Garnier explains. But its not
just about the visually lavish music scenes;
the music is important as an outlet for pentup emotions, for the dramatic basic tenor
of the film, at the centre of which is the
developing friendship of the four women.
While writing the script I did a lot of
research on mythology to find out what

really makes up a heroic tale. The characters in our film should be bigger than life
characters for the cinema.
B ANDITS was filmed with the ARRIFLEX 535
and 435. DoP Torsten Breuer, who also
composes film music and who had already
worked with Katja von Garnier, shooting
the camera trial film L AUTLOS and then
A BGESCHMINKT !, explains the reasons: The
535 is a wonderful camera. We used it
partially because we intended to shoot
some scenes with filmspeed changes, subtle transitions. Another effect we created

Awarded with, among others, the Student

Award for the best foreign film (by the
Academy of Motion Picture Art and
Sciences), the Bavarian film prize, the ErnstLubitsch-prize and the German film prize
for best young director, Katja von Garnier
received many script offers to consider
before she decided on an original story.
Together with Ben Taylor she developed
the idea of a dramatic music film and then

is otherwise only known from video-productions: we filmed at 6 frames per second

later the images were prolonged to get
back to 24 frames per second. The results
are some interesting wipe-effects in the
image. Also the 435 was used a lot because
it enables speed changes from normal to
slow motion very nicely. It needs 3.7 seconds to go from 24 to 130 fps; that is
pretty fast if it was faster, it would of
course be even better.

nitely use it for dialogue scenes too. It is

also a very good camera for shoulder
operation. The 535 is actually too. I carried it on my shoulder for hours and
you dont need to be a strong young man
to do that either. The project was filmed
on Eastman-Kodak stock 5298, 5293 and
more seldom 5248. The new Visionemulsion simply would have looked too
clear, too much video-like, explains
Torsten Breuer.

Torsten Breuer continues: As an MOS

camera, the 435 is otherwise mainly used
as a second unit, or for commercials.
Although it is actually not a sync-sound
camera, it is still very quiet. If you use
longer focal length lenses you can defi-

Of course, filming was strenuous, says

Katja von Garnier. The emotions vary
from despair, to euphoria, to total exhaustion, but I think this is good for the film,
and you will feel that between the lines.
Sometimes there are also some great feelings of happiness: for example, when the
weather is perfect for exactly the three
days on which you have to film a concert
on the roof. I believe that these emotions
are also noticeable in the finished film.
Filming on the famous Khlbrand Bridge

in Hamburg was also strenuous. The

BANDITS team was incidentally the first to
receive permission to film on it. Torsten
Breuer explains: In one and a half days
we had to film 80 shots with two explosions, two stunt jumps, a complicated
crane move and a helicopter shot. We
used three cameras and a Steadicam for
it. This schedule could only be adhered
to with strict planning and a second unit
headed by Breuers long-time assistant,
Dixie Schmiedle.

The soundtrack to the film will be brought

out on CD. The final number Catch Me
will come out separately as a single. Not
wanting to give away the end of the film
a separate video of was also made straight
away. You can easily believe Katja von
Garnier when she promises that BANDITS is
something different, something new in
German film. BANDITS is the opening film
of this years Munich Film Festival and will
be brought to German cinemas throughout the country by Buena Vista on 3 July.

Director: Katja von Garnier

Production: Olga Film
Producers: Harald Kgler,
Molly von Frstenberg, Elvira Senft
Distribution: Buena Vista
DoP: Torsten Breuer
2nd unit: Dixie Schmiedle
Camera-Assistant: Olaf Wildenhaus

F a c e

way. We consciously did away with normal

in-focus pictures in order to irritate the
viewers and thereby grab their attention.
Only a small part of the image was infocus. Nevertheless the eye always looks
for a focused point. By letting the focused
points wander through the image, we led
the viewer.
We used this effect to guide the viewers
eye over the models face. On one clip the
focus moves from the womans right eye
to her left eye. Finally you only see the red
lips in focus. That very closely imitates a
natural way of seeing.
?: How else do you use the shift and tilt
system?

s
A

s distinctive as a face, recognisable

at first sight, interesting and mystical
at the same time: that is how commercials
should look in the late 90s. In search of
expressive possibilities, a process has been
rediscovered for the moving image which
was always known and used in stills photography: shifting and tilting of the lens.
What is new is the how: Before it used to
be all about showing technical perfection
with seemingly infinite depth of focus. Now
selective focus is called for meaning
the discovery of the psychological potential of a subtly directed glance. Shots are
created, and even experts ask how they
could have been made without great effort
or extensive post-production costs. The
answer is easy: with the shift and tilt system
and a focus setting which contradicts all
previously applied (Scheimpflug-) rules.

Roman Kuhn and his team used this technique for the series of F ACES spots which
were made for RTL. We spoke to DoP Stefan
von Borbly about the possibilities of the
Shift & Tilt system, which he has already
been using for the past year.
Stefan von Borbly: The F ACES are
shown before the commercial breaks. The
goal was to get the viewers attention as
quickly as possible for the following commercial break. To do this we wanted to
show womens faces in a new, interesting

Stefan von Borbly: Mainly I use the

shift and tilt system for beauty work, which
often involves extreme close-up shots, for
example around the eyes. Tiny hairs, which
even the most beautiful woman has, can
be easily hidden. You set the line of focus
so that the pupil is totally in-focus and the
skin around it slightly less so. The image still
appears in-focus to the viewer. With a
diffusion filter the whole image would make
an soft impression. You would lose the infocus reference point for the eye.
Especially for macro work, the shift and
tilt system has advantages for the production: it doesnt cost much more than renting
4 macro lenses, but you have the additional
possibility of setting the focal plane as
desired. This is particularly important in
macro work, since you can normally only
compensate the missing depth-of-field of
such shots by using far more light and high
aperture-stops. The system is also more flexible through the extension with the bellows.
?: New focal length lenses will be coming
out shortly. Which ones have you missed
until now?
Stefan von Borbly: I missed the 20 mm
lens most as you can only shoot buildings
from close-up with a wide-angle lens. Interesting viewpoints will certainly be possible
with the 20 mm. You can not only correct
the perspective of buildings or objects, but
also create extreme distortions in perspective. I could for example imagine a pan shot
high up on a building: to create a more
extreme viewpoint the lens could be shifted
downwards. So you would actually pan wider than the buildings height, and thereby
create even more extreme cambered lines.
?: Youve also already used the shift and tilt
system in combination with Motion Control.

Stefan von Borbly: I worked for Untitled and Matthias Zentner with Magic
Move in Munich, a motion control company.
They adapted additional motors to the
shift and tilt system and integrated these
additional control possibilities into the
Motion Control. On this shoot we controlled focus and the horizontal tilt plane.
For a reverse tracking shot, products entered the image, and finally so did an actress. Using the tilt plane we could set
whether the products and the actress should
be in-focus, or just the actress. On one
close-up shot of her face we panned the
system the other way for a change, to
make her mouth totally out-of-focus. That
worked really well.
?: Why is this type of image creation with
the shift and tilt system so modern now?
Stefan von Borbly: Because previously we didnt have these possibilities,
which come from large format stills photography, in a professional form. Adapta

tions from photo-shift lenses were available,

but these are very limited in their creative
possibilities.
?: Is this just a short-term trend or is this
form of image creation here to stay?
Stefan von Borbly: I think itll be like
dutching which was very popular for a
while: in the early 90s every image had to
be dutched. With time though this has
been reduced to where it is used to support
the image. The out-of-focus effect will also
level off. But the shift and tilt system also
really does extend the boundaries of what
is technically possible and so goes far beyond a trend. People will find images which
cant be created in any other way for
example in dream sequences. Effects should
be used very consciously; you do something like that once or twice in a film, but
not all the time.

?: What tip would you give someone who

has never used the system before?

The Basic Version of the ARRI Shift & Tilt

System Comprises:

Stefan von Borbly: I would start by

adjusting the shift plane and watching
how the image frame is altered. Then you
can swing away one plane such as the
horizontal and watch how the focal plane
is displaced. With the shift adjustment the
image frame can be corrected again. If
you feel safe at this point you can tilt in the
second plane and turn the shift plane. Going through the process step-by-step helps
to understand it.

Adjustment unit with colour-coded operating elements for ease of use:

With kind support:

RTL Television/Manfred Becker, Creative Director
and Roman Kuhn & Partner GmbH
Filmproduktion

7 additional lenses, see table

Adapter fr 15 mm und 9 mm support rods

4 lenses:
24 mm/T4 45 mm/T2.8

90 mm/T2.8

Ident No.:

110 mm/T2
K0.52001.0

In addition the following accessories are

available:
Retro-adapter to enable use of
the lenses in retro focus position
for extreme enlargements

K2.52021.0

PL adapter for lenses with PL mount

K2.52020.0

Filter attachment for round 4.5" filter

K2.52034.0

Lenses
18/T3.8

20/T2.8

24/T4

28/T2.8

35/T2.8

45/T2.8

60/T3.5

80/T1.9

90/T2.8

110/T2

150/T2.8

Focal length

18 mm

20 mm

24 mm

28 mm

35 mm

45 mm

60 mm

80 mm

90 mm

110 mm

150 mm

Max. aperture

1:3.5

1:2.8

1:3.5

1:2.8

1:2.8

1:2.8

1:3.5

1:1.9

1:2.8

1:2

1:2.8

Image circle diameter

38.6
(1.52")

43.2
(1.7")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

58.2
(2.29")

Front diameter

95

87

87

87

87

87

87

87

87

87

87

T-Stop scale

3.8-22

2.8-22

4-22

2.8-22

2.8-32

2.8-22

3.5-22

1.9-22

2.8-22

2-16

2.8-22

Weight (g/lb.)

330/0.72

350/0.77

480/1

400/0.88

300/0.66

500/1.1

590/1.3

510/1.12

440/0.9

780/1.75

660/1.5

TV horizontal

59

54

46

40

32

25

19

14

13

10

TV vertikal

46

42

35

30

25

19

14

11

10

1.85:1 horizontal

61

55

47

41

33

26

20

15

13

11

Lens angle (degrees)

1.85:1 vertikal

35

32

27

23

18

14

11

Order number

K2.52031.0

K2.52018.0

K2.52010.0

K2.52033.0

K2.52032.0

K2.52011.0

K2.52022.0

K2.52017.0

K2.52012.0

K2.52013.0

K2.52019.0

10

ZDF-Image Trailer
with the Variable Primes
R OLAND B REITSCHUH D ESCRIBES

HIS

E XPERIENCES

n often asked question the media

industry is Who does what, with
which tools?. Increasingly this need for
information is answered in an optically
impressive way with show reels, self portraits and image trailers. With our 15minute scenic image trailer we wanted to
present the German broadcasting company
ZDF abroad. In 12 days filming we portrayed the ZDFs main offers: series, film,
news, documentaries and sport, all shown
within a scenic framework to enable us to
work with as little archival material as
possible.

focal length range offered by each lens

covers all the necessary image angles.
The lenses are superb, distortion-free, and
exceptionally sharp. Due to the masking
of the front lens, stray light had practically
no chance, even without a matte box or
format masks. A small but very important
feature.

Highest quality was required, so we produced on 35 mm film using the ARRIFLEX

535. Together with the standard lenses
14, 25 and 85 mm, we rented the new
Zeiss Variable Primes from the film equipment rental house Pille in Wiesbaden.

In physically tight sets the actual length of

the VPs occasionally caused a slight obstacle. Then we reverted to the tried-andtrue standard lenses. You should not underestimate the three cases one for each
Variable Prime that need to be stowed
in the camera van.

PHOTOS: MICHAEL KERN

These focal lengths as well as the manufacturer have accompanied me throughout

my career. That made it even more interesting to now be able to follow and assess
the latest developments.
Our filming experience was very positive:
the maximum aperture, which is T 2.2 on
all three VPs, allows night shoots basically
without greater lighting needs. The large

Of course through the all-in-one effect,

frequent lens change is a thing of the past:
I could offer the images faster, and the
assistant was also freed up for other activities.

The VPs are not designed as zoom lenses,

but they do offer more so with the support
of a zoom fluid the possibility to compensate somewhat, for example to zoom in
a little, a framing which is hardly noticed
by the viewer because of the action in the
image.
Handling on pan shots was also surprisingly good. The solid construction and the
resulting considerable weight allow for
balanced camera handling.

The scales for focusing and aperture are

printed very large and the mechanics are
extremely precise. Due to its long focal
range, we used the VP 3 most frequently
on our production. The ability to vary a
classical portrait focal length continuously
from 85 to 105 mm with an open aperture
is of course very interesting. Additionally
the particularly bright finder image
despite the zoom capability was very
convincing. The VP 2, which is more often
used for full shot/medium shot and medium close-ups, is physically the longest of
the trio. Working with it was still comfortable though and thanks to the lens support
also absolutely safe for the flange focal
distance.
Our conclusion: Excellent lenses which
should be part of the standard equipment
of any production, particularly when things
have to move fast: as for example on our
shoot with Horst Tappert (in the German
TV-series Derrick) when we could only be
on set for a very short time so as not to
disturb the production plan more than necessary, and where we had to get by with
just one take if possible.
The Team:
Production: ZDF, Screenworks, Wiesbaden
Executive producer: Rolf Hermann
Director: Olaf Steenfadt
DoP: Roland Breitschuh
Camera assistant: Michael Kern
Gaffer: Karlheinz Brckner
Grip/Set: Stefan Undeutsch

left to right:
Winy Tomscyk
Roland Breitschuh
Olaf Steenfadt

11

Car-Commercial
with the
Variable Primes
A R EPORT BY
D O P P HILIPP T IMME

P stands for Variable Prime, i.e. variable fixed focal length. At first glance
that seems contradictory, but it expresses
very well what the system intends: instead
of the usual 8 to 12 fixed focal lengths
and an additional zoom lens for the range
between 18 and 100, the VP-package
consists of three short zoom-lenses. Their
focal ranges overlap slightly, and altogether they cover a range from 16 to 105 mm.
The VP 1 has a focal range from 16 to
30 mm, the VP 2 from 29 to 60 mm and
the VP 3 from 55 to 105 mm. And since
were on the technical data: all three optics have a very acceptable aperture opening of T 2.2.
That was one of the main reasons why we
put the VPs on our equipment list. Our
cinema clip for adAugrus accessories
required after a car chase exterior/night
and cross-cut interior shots. The location
was a part of the Mannheim industrial port
IV. Not just due to the image sequence
that director Jrg Lhdorff with operator
Thorsten Schmidt had worked out requiring a multitude of tracking shots, flash pans
and zooms, but also because of the short
filming schedule from sunset to sunrise we
were grateful for every possible time-saving. In a word, the Variable Primes offered
the solution to all these problems and were
therefore as if made for our purpose.
Of course some uncertainties remained
which we were only able to clarify while
shooting. With the Eastman Kodak 5287
filmstock and using a sepia filter as well
as the ARRI Varicon, we had just 125 ASA.
We agreed to film mainly with an open or
nearly open aperture. The second uncertainty was the optical quality of the lenses.
Despite the fantastic zooms available to-

12

day, you do tend sometimes to accept their

small optical disadvantages in use minimal chromatic aberrations, light focal
pumping, slightly reduced resolution etc.
But we would treat the VPs as fixed focal
length lenses and also use them as such.
To state the result up-front: the Variable
Primes are completely satisfactory as variable fixed focal length lenses, which in
every way are comparable to the prime
competition, and are actually better. Even
with an open aperture, the optical quality
of the VPs is perfect in all focal lengths,
without reservation. The generous focusing
scale allows surprisingly extreme close-up
shots, even on long focal lengths. Particularly Jochen Stblein, our first camera
assistant, was very impressed.
One thing which would occasionally have
been desirable for our purposes is a somewhat more geared-down zoom control,
but in most cases its not really necessary.
Resolution and contrast of the optics are
enormous. Even the classical case of car
lights at night didnt cause any reflections
or stray light. That was particularly important for the lighting concept which I had
worked out with my gaffer Tom Grok. Strong
contrast and glaring reflections and practicals were used to optically underscore
the story.
The VPs sharpness is superb. Thanks to
inner focusing of the lenses with a stable
front lens group, the annoying pumping
on focal changes has been entirely eliminated. In addition, focus of course remains
stable over the entire zoom range.
My only criticism is the weight of the optics,
due to the very robust construction and

the up to 14 optical elements. This makes

shoulder-operation unlikely. Of course
you have to use a 6.6" x 6.6" matte box
with the Variable Primes, together with the
adapter ring for the Cooke 1:5 zoom.

tensive experiences as a visual effects DP

are T HE P OSTMAN , I NDEPENDENCE D AY and
Dantes Peak. INDEPENDENCE DAY was presented with the Academy Award for the best
visual effects in 1997.

In summary I must say that I was positively

surprised, despite the high expectations
which I naturally had of an Zeiss/ARRI
product such as the VP optics. They are
one of those occasional aids which make
it easier for the DoP to realize his visions
without worrying about the technology.
Their use for our purpose was a complete
success and I think that the images in our
clip speak for themselves and at the same
time for the Carl Zeiss/ARRIFLEX Variable
Primes.

The Team:
Producer: AV Gaier
Executive producer: Sylvia Sabiwalsky
Director: Jrg Lhdorff
DoP: Philipp Timme
Operator: Thorsten Schmidt
First assistant: Jochen Stblein
Material assistant: Marc Bobby Rogoll
Gaffer: Tom Gork
Dolly-Grip: Andr Hahn
Camera: ARRIFLEX 35 III
Lenses: Variable Primes
Film: Eastman Kodak 5287

PHOTOS: AD AUGRUS

Philipp Timme
Phillip Timme is a German DoP who dared
the move to Hollywood and made it there.
After numerous commercials and feature
films shot in Germany he moved to the States
to work as a visual effects DP. Currently
he is shooting for Touchstones ARMAGEDDON,
directed by Michael Bay. Among his ex-

12
13

Testing the ARRIFLEX 435ES

and the VP-Lenses
BY

R OB

DE

W IND

magine a pole-vaulter sprinting towards

the camera, which is running at the
standard speed of 25 fps. As he jumps,
the frame rate changes to 125 fps. Optically this gives the impression that he has
jumped over the bar at just a fifth of his
actual speed.
This trick is possible with the ARRIFLEX
435ES, which is capable of altering the
frame rate while the computer controlled
mirror shutter automatically compensates
the exposure with a continuously variable
shutter angle between 11.2 and 180.
A fantastic possibility! Perfectly exposed
acceleration and deceleration effects directly while filming. Of course the exposure
programme must be set in the camera
beforehand. Then you simply push a button.

14

Rob de Wind
during the test

This creates a variety of creative possibilities for producing commercials, clips and
feature films and at the same time postproduction costs in the lab or on the computer are reduced.
For the Dutch/Belgian journal AV Magazine I had plenty of opportunity to try
out the possibilities of the ARRIFLEX 435ES
and the Variable Primes.

Preparation
Before the shoot I had the camera and lenses measured by Fofics ARRIFLEX specialist,
Edgar Gomes. We checked the lenses on
the collimator and they all showed a wonderfully sharp image. These high-speed
lenses (T 2.2) offer not only fantastic image
quality, but can be used both as zooms and
as genuine fixed focal length lenses. I have
often had to move camera and tripod back
and forth while filming a commercial with
a prime lens until I finally found the right
frame. With the Variable Primes thats now
much easier. You turn the focal length ring
until you find the desired image frame
thats all! Intermediate focal lengths are
now also available. The desired focal length
can be locked on the lenses with a clamp
screw. Thats very useful if you need exactly
the same frame again, as for example on
double exposures.

Testing in Practice
Early this year I read a report in American
Cinematographer by DoP William Bennett.
He reports how during the shooting of a
commercial, a 435 was accidentally hit by
a car. The camera fell five feet, crashed
onto the concrete sidewalk, and slid twelve
more feet. The matte box was destroyed,
but the only damage to the camera was a
slight crack in the magazine. We replaced
it with an ARRIFLEX 35 III type magazine
and shot the rest of the night. All the footage, before and after the accident, was
perfect! The day after the accident we tested
the steadiness of the movement against a
latent-image grid, pre-exposed on an optical printer using an Acme camera with a
Bell and Howell 7709 type fixed-registration pin movement. We took this latentimage film and exposed it a second time
in the 435ES with the grid rotated about
10, so the two sets of grid lines would
cross each other on the negative. Using a
new 435 type magazine, we ran the camera at: 12, 24, 30 and 150 fps with a
180 shutter. In all cases the image was
rock steady!

A similar thing happened to me during a

shoot: I was working on a rolling fishing
boat when the remote control cable got
stuck behind the rigging. The RCU crashed
to the deck. I thought there go the sea
shots. But everything was fine not even
the paint was damaged.

Once enough seagulls were circling over

the stern, I pressed the green start key on
the camera. I then activated the gradual
slow motion sequence with the RAMP key.
The camera accelerated without a problem. But when youre filming at 125 fps
thats 5 times normal speed the film is
gone in no time. You have to be aware of
that, even if youre captivated by a beautiful scene.
The optical impression of this effect was
fantastic. Hundreds of seagulls are diving
in search of food in the wake of the boat,
then suddenly in the starting slow motion
sequence they remain nearly still. The exposure remained perfect throughout the
take. It was marvellous. The mirror shutter
on the ARRIFLEX 435ES adapts perfectly
to the speed-change and the depth-of-field
remains completely constant.

PHOTOS: ROB DE WIND

On a further take I wanted to film seagulls

flying around the shrimp boat while the
catch was being sorted. The 435 was fitted
with the VP 3. The speed had to change
from 8 fps to 125 fps during shooting. In
addition I set a program to make the camera carry out this acceleration sequence.
The remote control unit displays not only
the actual duration of the acceleration or
deceleration process but also calculates
the screen time in the cinema. Thats very
useful. For my effect I programmed a screen
time of 15 seconds.

The Experiences

Rob de Wind

The ARRIFLEX 435ES is easy to handle

and has a very bright and flexible finder
system. It feels reliable and good on your
shoulder, and it is user-friendly. Its good
that the Vario Speed Unit was integrated
into the 435. Programming the camera is
easy. I used the RCU-1 remote control unit
which is easy to operate. I particularly liked
the perfection with which the ARRIFLEX
435ES allows you to change frame rate.

During 23 years Rob de Wind has been

active in his company Rob de Wind
Vakfotografie & Filmproduktie. He made
more than a thousand hours in helicopters for airial photography and crossed
the Sahara in a Land Rover. His activities
have brought him numerous prizes.

The image sharpness was also noticeable.

Looking at the results Bert Hulshoff (Cineco filmlab), a connoisseur suprme in such
matters, said the images created with this
camera are 100% perfect. Ive never seen
anything like it. On a double exposure
where we had high tension wires (of course
with no wind), even the wires are sharp as
a knife. Thats unique.
The camera is as fantastic in use as in the
results. With the ARRIFLEX 435ES its easy
to design creative shots. You can give your
imagination free rein. For me the ARRIFLEX
435ES is a camera with revolutionary possibilities, and its ideal for commercials
and clips.

14
15

Le Plus Beau Metier Du Monde

and the Variable Primes
A N I NTERVIEW

WITH

J EAN -Y VES L E M ENER

HE MOST MAGNIFICENT JOB IN THE WORLD :

being a teacher in the turbulent multicultural Parisian suburbs? With Grard

Depardieu in the leading role and 300
prints, this was one of the biggest and most
successful films of 1996 in France. JeanLuis Deriaz and Yves Clanet (of Techni
Cinphot, France) talked to Jean-Yves Le
Mener, DoP on this box office hit. In the
last 10 years he has made over 40 films,
including Les Visiteurs (The Visitors,
1993), the biggest and commercially most
successful French film in recent years.

T.C.P.: You shot THE MOST MAGNIFICENT JOB

IN THE WORLD (L E P LUS B EAU METIER D U MONDE),
a film by Grad Lauzier, with the Variable
Primes. This was the first time these lenses
have been used on a French feature film.

amount of time while shooting. For the

assistants that meant far fewer lens changes. Then there are the increased creative
possibilities. For example camera moves
with difficult angles in narrow corridors.
If lack of space forces you to do without
the zoom, you get a much better solution
with the compact VPs than standard lenses
can offer. You can easily and comfortably
adapt the framing with a change from for
example 32 to 28 mm without changing
lenses.
Personally I really appreciate the possibilities of perfect fading out you can completely close the lens aperture.
The front diameter is identical on all three
VPs. That meant we could use exactly the
same filters.

J. Y. Le Mener: Thanks to the support

of T.C.P. and Samalga, I was able to try
out the Variable Primes and compare them
thoroughly with the Zeiss standard T 2.1
lenses which we also used.

T.C.P.: In filming you often use the 535s

possibilities for effects shots. Do you also
use the Variable Primes for these?

Over 90 % of the film was shot with the

Variable Primes and almost 2/ 3 of that
with the VP 2 (29-60 mm T 2.2) that must
be the best proof that I liked the system.

J. Y. Le Mener: Of course, the focal

length ring on these lenses is luckily equipped with a wonderful scale and a fixing
position for the chosen focal length. Wherever necessary I can keep the same setting
or find it again.

16

It would be nice if all three VPs could be

supported in one position. When you
change the lens the support could then stay
in place and wouldnt need to be moved.
But thats a fine point!
T.C.P.: And how do you rate the system
from the point of view of the production?
J. Y. Le Mener: My practical experiences in filming of course dont take into
consideration the rental costs of a set of
Variable Primes compared to a set of standard lenses. It would be difficult to calculate the time saved in shooting and the
advantage in quality, although of course
thats important.
T.C.P.: Thank you for this interview.

J. Y. Le Mener: Without wanting to be

flattering in filming I didnt notice anything negative: no spherical aberrations,

The VPs are extremely high-performing and

remarkably sharp lenses, even at open
aperture. Maybe they have a little more
contrast than the standard lenses, but in
practice the difference is hardly noticeable.
The adaptability of these lenses is very
interesting, although they arent proper
zooms with a large focal length range. The
Variable Primes saved us a considerable

Apart from the optics, I would also like to

say something about the noise level. Despite
the larger emission surfaces compared to
the standard lenses, I didnt hear any negative comments from our sound recordist
about the lenses used. And thats very important.

T.C.P.: And the systems weak points?

PHOTO: ARNAUD BORREL

We used two cameras, an ARRIFLEX 535

and a BL 4s. The Variable Primes seemed
to be welded onto the cameras. On the
main camera, the 535, we mostly used the
VP 2, on the other the VP 3. The large aperture opening enabled us to do the night
shots. Less than 10 % of the film was shot
with the standard lenses, only when we were
obliged to use them, for reasons of weight
for example, such as with Steadicam.

not even with different focal lengths at

night no flaring, no ghosting In certain
situations for example in shoulder use
or with Steadicam the VPs are of course
too heavy. With the LOUMA handling was
quite easy though.

right: DoP
Jean-Yves Le Mener,
left: Cadreur
Yves Agostini

PHOTO: JACK ENGLISH

The Fifth Element

The most expensive production of 1996 is
the $ 100 Mio. fantasy film THE FIFTH ELEMENT
by Luc Besson
The Super-35 production was filmed with
ARRIFLEX 535 and 435 cameras. Bill Neil,
Visual Effects Director of Photography,
was extremely satisfied with the 435: I
was amazed at the performance of this
camera in terms of its steadiness at all
speeds. In fact, it was rock steady, good
enough for matte work from two frames to
150 frames a second - in both forward
and reverse. Ive never seen any camera
made anyplace in the world that could
do that.
T HE FIFTH ELEMENT premiered mid-May in
the United States and starts in Germany
in August.

Eyes Wide Shut

Luc Besson with the ARRIFLEX 435

Camera-equipment:
ARRI Rental, Munich

left to right: Heinz Feldhaus,

Stanley Kubrick, Larry Smith

ARRI is located in the Convention Center,

booth 1650.

Production:
Hobby Films for Warner Brothers

This year, the entire ARRI Group will present

itself in a newly designed and enlarged
booth. With an area of 2,000-sq. ft., ARRI
is one of the largest exhibitors at ShowBiz
West.

In addition to the product display areas

where new and existing camera and
lighting equipment such as the new
LOCPRO 35, the Shift & Tilt-System and
the integrated Video Assist System will
be shown, the ARRI Group will also be
presenting their worldwide company network.

For years, ShowBiz West in Los Angeles,

has been one of the largest exhibition in
the motion picture industry. Over 500
companies present their products and services at the show.

ShowBiz West

Stanley Kubrick is currently working on

his new project EYES WIDE SHUT in England.
DoP Larry Smith is filming with the
ARRIFLEX 535B on location in London and
the Pinewood Studios. Tom Cruise and
Nicole Kidman are in the leading roles of
Kubricks new production.

17

with ARRIFLEX 535A

BY

DOP GEOFFREY SIMPSON

HINE was one of those scripts that really got it right: A simple story of a
man and a piano, told with passion and
emotion. It affected my focus puller, Sally
Eccleston so much that she paid her own
way to the UK for the London leg of the
shoot. Our director, Scott Hicks, had lived
with the project for ten years, refining the
script with Jan Sardi, and finally finding
the perfect cast.

I have known Scott for many years, since

school days in fact. We worked together
on television projects more than ten years
ago and have maintained the friendship.
He was sharing our house while cutting

his documentary T HE G REAT W ALL OF I RON

in 1989 when he first started telling me
about the life of David Helfgott. He told
the story with passion and a sense of
humour that have stayed to the finished
film.
We talked about the film over the years,
and it came close to getting its money
several times, until finally I got the call from
Scott saying are you still on for this?
A few month later we found ourselves in
Trafalgar Square at five in the morning
doing the first shot of the shoot. A mobile
telephone was next to the slate so Jan Sardi
back in Australia could hear action and
know that SHINE was finally happening.
Knowing a director as a film maker and
friend really help the film making process.
Getting into a directors head, helping
with their vision where you can, is for me
one the great joys of film making. Scott
had talked about his visual metaphor for
David Helfgotts life as a journey into
light, a fairly dark childhood with many
dark periods, before he finally came into

18

cult and unhelpful location. Most of our

work was on the fourth floor and the local
council would not allow cherry pickers or
lifts so we could not light through windows
so we had to be inventive.
Our camera package was the ARRIFLEX
535A with Zeiss standard lenses, a Canon 200 mm and a Cooke Varotal 18 mm 100 mm zoom. We rarely used the zoom
tending instead to stay with the Zeiss T 2.1
glass. I come from a documentary background where I like to operate the camera
myself. Its good for communication with
the director and really keeps me in touch
with the image. The 535 viewfinder was
excellent, very clear and bright. Often focus was checked in the viewfinder instead
of running with the tape. I found it also
really good to light through, constantly
going back to the camera to check the
image as I worked with the gaffer.
The swing over viewfinder saved us on a
couple of shots. One very tight situation
had the camera on a narrow staircase in
The Royal College of Music with Sir John
Gielgud walking past our lens followed by
Noah Taylor. There was hardly room for
Sir John let alone camera, operator and
focus puller. However we managed with
the viewfinders help to get into a position
where I could pan the camera with our
actor. He had just celebrated his ninety
first birthday!

the light, the spot light of the concert stage,

the limelight of success. This was a great
cue for me and I needed no further encouragement to go into the darkness.

The shoot consisted of two weeks shooting

in London, mainly the Royal College of
Music, followed by nine weeks in Adelaide.
The London leg was particularly tough
with The Royal College being a very diffi-

The concert sequences were fun, the basic

plan of attack being to put David in the
spotlight, dim the house lights loosing the
audience and orchestra and focus on
Davids world. We always talked about
slow motion and really exploring every

The fight with his father as a teenager, even

playing the piano at night for his father as
an eight year old has an underlying tension, and the darkness of the scene helps.
Some glimpses of the light at the end of the
tunnel with his success at the Royal College
of Music bathed in the concert spotlight.
On the other side, we had seen Roger
Wooded walk into the light after winning
the national competition, while David had
to stay in the shadows Then darkness in
the limbo world of mental institutions and
half way houses, with the light very much
coming from outside David looking out
the window at the trees and hearing the
stirring of music, his feet hopping on sunlight patterns. The transition being his slow
motion run through the rain, back to the
piano bar, back to music. His marriage to
Gillian light and bright, his return to the
stage with the spotlight peeking through
the crowd and finally bathing David.
DoP Geoffrey Simpson

19

We used Eastman Kodak 5293 for exteriors and some daylight interiors and 5298
for all night work. It was winter for the
Australian leg of the shoot, so the short
shooting days kept us running in the afternoon. The 5293 rated at 200 ASA was
very useful as sun hit the tree tops, but
sometimes we had to finish on the faster
5298. We were basically a single camera
shoot, with lots of actual locations, nothing
particularly tricky lighting-wise, just trying
to do justice to a wonderful script. The film
was a small low budget shoot with an
Australian crew who kept their sense of
humour when the going got tough. It was
fantastic to work with a crew who were so
committed to a script, the actors and their

DoP Geoffrey Simpson

angle possible on a grand piano, hands,

feet, keyboards and face. The shiny black
surfaces also presented wonderful opportunities for reflections. I think with more
time and budget we would have ripped
the piano apart and photographed hammers hitting wires in macro close up at
120 frames per second. Still it was a nice
sequence to photograph, hand holding
the camera and moving quickly round
David. What a challenge for our focus
puller Sally Eccleston, who did a great job.
On the 535, she was particularly impressed
with the Camera Control Unit (CCU) which
gave her constant monitoring of the many
functions now available. We did use the
in-shot frame rate and variable shutter function a couple of times, another great tool
that I am sure will continue to grow in use.
Sally also reported no scratches and no
hairs in the gate over eleven weeks of
filming.

20

For some of young Davids story we used

wide lenses for many of the close ups, the
20 mm and 24 mm often coming out of
the box. This put us very close to a young
actor who was often speaking in a lowered
tone. The quietness of the ARRIFLEX 535
was remarkable. As I often looked over to
our sound recordist Toivo Lember at the
end of a take I would find a smiling face
and the universal thumbs up.
Our gaffer for the bulk of the shoot was
South Australias Trevor Toune. Though
I now live in Sydney and have not worked
with him for many years, it was great to
work together again on our tenth film. As
is the Australian custom, Trevor owns his
own lamps and generator, the bulk of his
lamps have that familiar blue paint. A
couple of ARRI 12 kW HMI, two 6 kW HMI,
three 4 kW HMI, two 2.5 kW HMI, one
6 kW PAR and two 1200 PARS. SHINE was
a location shoot with only one set, the
bathroom from Davids childhood. So we
were lighting through windows where
possible for the daylight work. Needless
to say we emptied Trevors truck on most
days, sometimes hiring in an extra lamp
or two for some larger interiors.

director. Now the film has been nominated

for seven Oscars and our lead actor
Geoffrey Rush has already won best actor
at the Golden Globes and the Oscar. The
real David Helfgott has found his career
skyrocketing and our director has signed
a deal with DreamWorks. Talk about happy
endings!
Production: Momentum Films
Director: Scott Hicks
Script: Jan Sardi
DoP: Geoffrey Simpson, A.S.C.
1st Assistant: Sally Eccleston
Gaffer: Trevor Toune
Sound: Tiovo Lember
Camera and additional lighting equipment:
Cameraquip, Melbourne
ARRI MEDIA, London

Geoffrey Simpson A.C.S.

Geoffrey Simpson just received the Bronze
Frog at the CAMERIMAGE Festvial in
Poland for S HINE.
1996 Oscar And Lucinda
1995 Some Mothers Son
Shine
1994 Little Woman
1993 The War
1992 Mr. Wonderful
1991 Fried Green Tomatoes
1991 The Last Days Of Chez Nous
1990 Deadly
Green Card
1989 Till There Was You
1988 Fields Of Fire III
Eden Lost
Celia

1987 The Navigator

Jilted
Riddle of the Stinson
1986 The Shiralee
Initiation
Gallaghers Travels
The Blue Lightning
1985 Playing Beatie Brown
Call Me Mr. Brown
1982 Mad Max II/The Road Warrior
(2nd unit DoP)

20
21

n this funny as well as fast-paced horrorcomedy, three young Americans on a

European trip meet the blood-thirsty ancestors of the erstwhile London werewolf in
Frances capital: 15 years after John Landis
glittering, effect-laden production A N
A MERICAN W EREWOLF IN L ONDON , the creatures of the night return. In the lead roles
are Julie Delpy (H OMO F ABER , T HE T HREE
MUSKETEERS, A FTER SUNRISE) and Tom Everett
Scott (known from Tom Hanks directing
debut T HAT T HING Y OU D O ). After exterior
shoots in Paris, Metz and in studios in
Luxembourg A N A MERICAN W EREWOLF IN
P ARIS is currently being completed in Germany as a European production with a
budget of 30 Million DM.

An American
A R EPORT

22

BY

Werewolf in Paris

R OMAIN G EIB

The director and script writer is the Britishborn Anthony Waller, who lives in Germany
and has made a name for himself through
commercials and with his remarkable
directorial debut MUTE W ITNESS . 10 years
experience in the commercials business
prepared him for the big screen. To create
his werewolves he used the most modern
special effects and camera technology
available.
DoP on this lavish production is Egon
Werdin, who once made his debut behind
the camera supporting Roland Emmerich
(N OAH S A RC P RINCIPLE D AS A RCHE N OAH
P RINZIP, J OEY). His camera work in TV films
and cinema productions by young German
directorial talents have already won him
two German film prizes. On the altogether
four months filming with a decidedly

PHOTOS: ROMAIN GEIB

European filmcrew, representing nine nations, ARRIFLEX 435 and 535 packages
from the Munich ARRI Camera Rental park
were constantly in simultaneous use.
The atmosphere called for a lot more light
than on for example MUTE WITNESS. Mainstream American productions are certainly one of the reasons for this. But if you
disregard that, we have also found that
many cinemas project too dark. In this film
there are two totally different lighting
atmospheres: very warm and very cold colours. The cold tones are for the bad side,
in connection with the moon, and the warm
tones are for the good side. In contrast
to M UTE WITNESS we are now working with
clear, or true colours, reports Egon
Werdin.
In order to give the action-oriented visual
story the necessary dynamics for the rollercoaster-like plot, he insisted on being able
to use Steadicam equipment for the entire
shooting period. Second Unit DoP was Jrg
Widmer, an experienced Steadicam operator. For him the lightweight magazine
LM-1 was ideal for Steadicam shots with
the ARRIFLEX 535: With the lightweight
magazine the camera is very well-balanced.
That facilitates flexible use, particularly in
the sometimes very constrained sets of reconstructed Paris metro shafts and underground sewer channels.
The digitally animated sequences of AMERICAN
W EREWOLF IN P ARIS are some of the most
complicated currently being created in
computer-animated cinema internationally,
considering the high percentage of them
in the whole film and the amount of work
involved. The transformation phases, in
which the actors change into the horrifying
creatures, are particularly spectacular. For
the werewolf scenes special lifelike werewolf creatures Animatronics were constructed. Precise, motion-controlled greenscreen sequences are subsequently reworked
digitally on the computer, and in several
image planes (real images, travelling mattes,
computer-animated parts) combined into
a sequence. This demands a high consist-

DoP
Egon Werdin
using the
ARRIFLEX 535

Director
Anthony Waller,
DoP
Egon Werdin

ency in image steadiness from the camera.

Although these days there are hardly any
bounds to the corrections which can be carried out subsequently in digital processing,
such complex digital composing visual
effects continue to make great demands
on camera, especially for the big screen.
Just for the composite trick sequences, for
which real shots are combined with digitally animated images, approximately 150
individual shots had to be taken. SFX cameraman Wade Childress came to know
and appreciate the wonderful image steadiness of the ARRIFLEX 435 and 535 during
the several weeks of greenscreen studio
shoots: We had until now only used Panavision cameras for digital and visual
effects and didnt have any experience with
other systems. Particularly because of the
Kodak Vision filmstock we did extensive
tests. Here we also experienced the excellent features of the film transport system
on the ARRIFLEX 435 and 535. The results
were magnificent.

The brand-new Kodak Vision filmstock

5297, which was used for the first time in
big European feature film production, was
exposed well below the rated exposure index at 250 ASA to give better detail.
From April the European werewolves will
populate US screens.
Production: Comestone Pictures/Delux Productions
Producer: Richard Claus
Director/Script: Anthony Waller
DoP: Egon Werdin
Second Unit DoP: Jrg Widmer
SFX Camera: Wade Childress
Camera and Lighting: ARRI Rental

23

LOCPRO 35
T

he new LOCPRO 35 is a multipurpose

35 mm filmprojector and video transfer
system for location, studio or conference
use. A switchable mirror system allows either wall projection or use of a 1/3" high
resolution CCD-Color Imager. Image/sound
synchronization from the LOCPRO 35 is
possible with DAT recorder.

Rapid Film Transport and

Simple Operation
Film transport via a patented intermittent
film drive sytem enables a film transport
interval of less than 0.01 sec. regardless
of projection speed. Constant film tension
and reliable film transport is guaranteed
through the use of a computer-controlled

24

drive system for the film platter motors.

Two meters before the end of the film is
reached, the projector stops automatically.
Film loading is both fast and simple as a
result of the computer controlled system.
After placing the film on either of the film
platters, the free end is attached to an
empty core on the other platter while simply
dropping the film into the wide open film
channel. All of the remaining film loading
steps, of loop forming and film tensioning
are accomplished automatically. The film
may be removed at any time, even in the
middle of a roll by simply depressing the
film load button.

Optimized Image Quality with

Flicker Free Projection
Image brightness, frame steadiness and
image clarity have been optimized for all
applications. Regardless of projection
speed, the new film transport system guarantees that there is no flicker. The 400 W
HTI lamp enables optimum projection of
an image width of over 2 meters (6 ft) and
average colour-temperature 5400K.

High Speed Shuttle

High speed winding and quick localisation
of specific film frames is accomplished by
using the projectors high speed shuttle
mode. The film may be shuttled in both
forward and reverse at 200 frames per
second by simply turning the film speed
control knob. After switching back from
high speed shuttle to image projection
the correct frame bar adjustment is provided again by the constantly running electronic frame counter.

Specification
Projector
Type: LOCPRO 35
Film format:

35 mm Positive/Negative

Capacity of film platters:

300 m/1000 ft

Projection speed (fps):

50 Hz operation: 50/25/
12.5/6.25/3.12/1.56
forward and reverse
60 Hz operation: 60/30/
15/7.5/3.75/1.87
forward and reverse
film mode: 48/24/12/6/
3/1.5 forward and reverse

Single frame film transport: forward and reverse

High speed shuttle:

200 fps

1/3" CCD-Color IMAGER, High Resolution

Signal system:

PAL
NTSC

Picture elements:

Automatic stopping device: film drive stops automatically

approx. 2 m/6.7 before the
end of the film

752 (H) x 582 (V) 768 (H)

x 494 (V)

Sensing area:

6.00 mm x 4.96 mm
6.00 mm x 4.96 mm

Automatic recognition of
winding direction:

Sync system:

intern
intern

Scanning system:

2:1 interlaced
2:1 interlaced

no change-over necessary
for clockwise or counterclockwise winding

easy to operate
excellent image quality
short frame change period
single frame operation
high speed shuttle
auto stop device
auto recognition of winding direction
infrared remote control
HTI lamp
wall and TV-projection
computer interface
external image synchronization
fully integrated extras
easy to transport

frame counter, 5 digits

projection speed set up mode

S/N ratio:

Frame bar adjustment:

during film transport or still

projection

46 dB
48 dB

H/V resolution:

Remote control:

Special Characteristics at a Glance

Digital display:

INFRARED

460 (TV) line

470 (TV) line

Lamp projection:

400 W, 24 V, HTI-Lamp

Video out:

FBAS oder Y/C

VBS oder Y/C

Lens:

F 2/50 mm

Frame line inserter:

Focusing:

manually

free adjustable format

marking

Computer interface:

RS 232, control and monitoring of all operating- and

videofunctions

Dimensions (overall):

740 (29.1") (w) x 700 (27.6")

(d) x 510 (20.1") (h) mm

Weight:

approx. 56 kg/123.5 lbs

Power supply:

230 V/50 Hz - 115 V/60 Hz

Accessories
Maintenance tool kit
Service tool box
Transport box

25

Lightweight Focus Drive LFD

A compact and lightweight unit for fixed
focal length lenses on 35/16 mm cameras
as well as for zoom lenses on 16 mm
cameras: with a variety of interchangeable
holders, the lightweight focus drive can
be attached directly to the 35 mm camera
or to the lightweight support of the 16 SR
range.

The set for the 16 SR range consists of the

focusing knob on the left, the gearwheel
and the holder for the lightweight support.
For right-side operation the set can be
swapped over. For production matte boxes
such as the MB-19, a longer focusing knob
is available. On 35 mm cameras only different adapters are necessary.
The flexible shafts and the focusing lever
can be directly attached to the lightweight
focus drive or to the focus knob. The tapered marking disk facilitates reading the
focusing scale from an angle.
Weight:
Lightweight Focus Drive Set 490 g/1 lb

New 4" x 5.65" Lightweight Matte Box LMB-5

With the LMB-5 ARRI introduces a new
lightweight matte box that is optimally
suited for the 16SR 3 and Super-16 filming. The range of feasible focal lengths
begins at 6 mm for 16 mm cameras, and
at 14 mm in the 35 mm format.
The Lightweight Matte Box LMB-5 is equipped with two push-through 4" x 5.65" filter
frames as well as with attachments for a
light shield. The matte box is attached
directly to the front ring of the lens with a
clamp adapter of appropriate diameter.

26

The slip-on carbon fibre light shield is light

and compact and so can always remain
in place. During breaks in shooting or when
transporting a completely set-up camera,
the light shield can be folded down flat
against the front of the matte box to protect
the filters or the front element of the lens.

4" x 4" filter frames and set of masks for

16 mm/35 mm lenses are available as
additional accessories.

ARRI X, the New Daylight Luminaire

W

ith the new high performance day

light floodlight ARRI X 40/25,
ARRI has introduced a new generation of
luminaires. The floodlight was developed
for the even illumination of large areas
with daylight character. The applications
cover film and television productions,
theatre performances and even use in
photographic studios.

2500 Watt as well as 4000 Watt singleended discharge lamps can be used as
required. With the ARRI quick-change
socket, the bulb can be replaced simply
and safely. Alteration of the output and
the necessary lamp height compensation
can be done simply via a setting ring.

The reflector is equipped with quick releases for flexible handling and can be
replaced without tools. Reflectors for hard
shadows (Shadowlight) and for large,
wide surface illumination with high light
intensity are available.
The ARRI X housing is made of stable aluminium plates and profiles, making it very
robust in use.

Technical Data:
Capacity:

2500 W or 4000 W
single-ended discharge
lamps

Colour temperature:

5600K

Lamp socket:

G 38

Dimensions (in mm):

432 (W) x 265 (L) x 612 (H)

17" x 10 1/2" x 24"

Weight:

18 kg / 39 lb 10 oz

SHOWTEC
The new daylight luminaire ARRI X 40/25
will be exhibited at the Show Tec in Berlin
from June 3 to June 5.
Visitors will not only have the
opportunity to see the entire
range of ARRI lighting products.
On June 3, 1997 at 1:00 p.m.
they will also be able to listen
to a lecture held by Professor
Max Keller on the subject Fascination Lighting.
You can find ARRI in
Hall 20, Booth A18.

Light output in Lux:

Distance

3m

5m

10 m

Beam-Angle

2500 Watt

4028

1450

360

129

4000 Watt

6110

2200

550

129

27

Academy Bonner Medal

to Volker Bahnemann
The John A. Bonner Medal for Commendation was presented by the Academy of
Motion Picture Arts and Sciences to Volker
Bahnemann, president of ARRIFLEX Corporation on March 1 at the Scientific and
Technical Awards Presentation dinner.
The Bonner Medal, named in honor of the
late director of special projects at Warner
Hollywood Studios, are awarded in appreciation for outstanding service and dedication in upholding the high standards of
the Academy.
Bahnemann began his career at Arnold
& Richter in 1959 and came to ARRIFLEX
America as a camera technician in 1963.
He was named president in 1977 and has
been a driving force in the success of the
ARRIFLEX line of cameras in the United
States.

New Colleague in
Camera Sales at ARRI
Burkhard Schmalstieg has succeeded as
camera sales representative for Germany.
Gerald Stekly has become sales manager
for ARRIs film and TV services.
Mr. Schmalstieg has the perfect background
for this position: as sales manager for
cinematographic film at Agfa-Gevaert AG
he made many contacts to German DoPs
and gained solid practical experience on
national and international productions.
After internal training in the camera service department and camera rental park at
ARRI, Mr. Schmalstieg fully begins his
duties in May. He intends to pay particular attention to the post-sales service for
the customers.

India

Bahnemann has been active over the

years in the Academys Scientific and
Technical Committee.
The medal of commendation now named
for Bonner has been given at intervals by
the Academy Board of Governors since
1977, upon the recommendation of the
Scientific and Technical Awards Committee.

S.R. Electronics, ARRIs representative in

Mumbai, has moved into new premises.
As well as sales, Ravi Potdar now also
offers comprehensive service for ARRI cameras and lighting equipment.
In 1989 R. Potdar founded his own company after over 20 years of experience in
sales and service of ARRI products. Early
this year he delivered the first ARRIFLEX
435ES to the Indian DoP R.M. Rao.
S.R. Electronics
12/351, Nirlon Colony, Siddharth Nagar,
S.V. Road
Goregaon (West), Mumbai 400 062
Tel.: 022 875 95 80, Fax: 022 895 44 58

28

The top-class festival jury consisted of

Haskell Wexler, Andrezej Zulawski, Vilmos
Zsigmond, Robert Alazraki, Miroslav
Ondricek, Alexiei Rodionov and Andrzey
Jaroszewicz. Nineteen films competed for
the Golden Frog . In addition 60 films
were shown as well as a retrospective of
Haskell Wexlers work.
The English DoP Dick Pope received the
Golden Frog for SECRETS AND L IES. Eduardo
Serra (Silver Frog) and Geoffrey Simpson
( Bronze Frog ) were rewarded for their
camera work on the films JUDE and S HINE
respectively. Haskell Wexler was awarded
the Life Achievement Award.

CAMERIMAGE
CAMERIMAGE the International Film
Festival of the Art of Cinematography
took place for the 4th time in Torun
(Poland). Its increasing popularity is no
surprise: CAMERIMAGE is the only festival in the world to concentrate on the art

of the DoP. ARRI, a sponsor of the festival,

also gave the first detailed presentation of
the ARRIFLEX 435 in Poland: a two-day
workshop was attended by established
DoPs as well as students of the Polish Film
School. Lodz ranks among the worlds
finest institutions. Poland has brought forth
DoPs such as Janusz Kaminski (SCHINDLERS
L IST ) and Piotr Sobocinski (T HE S EVENTH
DOOR ).

Open House at ARRI

Munich
Numerous visitors from the film and television
industry came together for ARRIs 8th Open
House in Munich. Over 800 film-makers
came to Studio 2 in Trkenstrae for a lively
exchange of ideas. This offered the opportunity to discuss projects, to keep up contacts
or to establish new ones.

left to right: Gernot Roll,

Andr Siebert

Berlin
Intervision Cine Rent also held an Open
House, thereby officially opening ARRIs
facility in Berlin and presenting the latest
lighting and camera equipment to its visitors.

Poland has developed over the years into

an interesting business partner for the film
industry. Low shooting costs offer attractive
working conditions, and the percentage of
foreign productions is increasing. To meet
the demand for technical equipment, Polish
rental parks continue to equip themselves
with new cameras, and the first ARRIFLEX
435 and 535B cameras have already been
purchased. In 1996, 22 feature films and
over 230 commercials were filmed in Poland.

Intervision-Team: from top to bottom

1st row: l. to r.: Hans-Georg Witthohn, Bernd Koschmidder
2nd row: l. to r.: Siegfried Knig, Ronald-Michael Voigt,
Nasser Heintzelmann, Regina Kunow, Sebastian Jahnke
3rd row: l. to r.: Felicitas Schnatmann, Regina Nasu-In,
Andreas Halle

Intervision Cine Rent GmbH,

Kaiserin-Augusta-Allee 16-24,
10553 Berlin
Phone +49 30/34 68 00-0
Fax +49 30/34 68 00-30

left to right: Caroline Link, Rainer Matsutani,

Katja Riemann, Rainer Kaufmann,
Katja von Garnier

left to right: Dominik Graf, Hans Noever,

Helmut Dietl

29

Whats New at ARRI TV

Henry V6/Digital Image Direction/Alias/TWIGI

left:
The Digital
Edit Suite
right:
Colour grading
on Rank Cintel
Ursa Gold

Post Production

Studio

New Colleague New Competence

A Quantel Henry V6 was installed in

Munichs leading post-production house
ARRI TV in early January 1997. The computer allows digital image processing in
6 layers simultaneously, as well as numerous effects such as motion tracking, picture
stabilizing or motion blur. The new Henry
has a storage capacity of 2 hours of uncompressed 4:2:2 video. For editing and
effects, ARRI TV now has the broadest
range of all studios:

Both TV studios in Trkenstrae have also

been integrated into the digital ARRI
network as of January 10. Vision control
was upgraded with the image mixer Diamond Digital from Bosch . On studio productions it is now possible to access all
digital capacities via the internal router. The
superior capabilities of the DynachromeKeyer enables the combination of all inhouse digital image sources.

Jrgen Schopper, who has worked on the

successful American production I NDEPENDENCE DAY has joined the company. He is
creative manager for 3-D animation and
design development, thus enhancing the
team made up of Christian Singer (Henry)
and Andr Siebert (Flame).

Digital on-line in a D1 suite with the effects

machines Harriet from Quantel and Flint
from Discreet Logic, Abekas A57, ADO
3000
two Flames from Discreet Logic
Cineon Digital Film System
Henry V6
Harry/Paintbox

Digital Film
At ARRI Digital Film, a department of ARRI
TV, a second Flame workstation from
Discreet Logic was installed in April. Now
two Silicon Graphics Onyx computers are
available. Kodak Cineon Digital Film System also runs on these, including scanning
and recording in film resolution.
The animation software Alias Wavefront
has also recently been installed. In the
network with Softimage, which has already
been used successfully for a long time,
absolute state-of-the-art equipment is now
available for 3-D.

30

Telecine
In the area of Telecine, ARRI TV uses two
top-class Rank Cintel Ursa Gold film scanners with DCP and Electric Sunroof colour
correctors; Electric Sunroof enables selective effects in programmed Softwindows,
i.e. colour grading partially in the image.
Both machines have now been equipped
with TWIGI, a special development by the
English company, Innovation TK. TWIGI
improves the signal-to-noise ratio and
aliasing noticeably and thereby optimizes
image quality.

sketched elevator glows. The camera comes

closer and closer, finally dipping into the
second layer of the storys action. It flies
through the drawing into a real parking
building in a dream-world

Social Clip
The Airbag
A

social clip what exactly is that?

An advertisement for something
which in no way fits commercialisation
for a specific, sometimes even life-saving
social behaviour. The Airbag is an Aidsclip produced for cinema and television in
German and English. The project by the
young director Marc Kbler was also a
university project at the Art School for Media
in Cologne. The reknowned German talkmaster Alfred Biolek and Werner Barg
were his diploma supervisors. On a project
calling for such commitment, active partners are certainly vital.

Other film industry companies, such as

Kodak, Ruhr Sound Studios and Cine Rent,
and also the car manufacturers Saab,
BMW and Ford donated cars and sponsored the development phase safety is
of course in their interest too. The actors
and crew worked on postponed salaries.
Marc Kbler has since then been employed
on commercial productions in England
and South Africa, where the market is booming. As project manager for German companies he has noticed a clear increase in
interest in notable locations on the Cape.
Currently he is negotiating with European
producers for a script on Nelson Mandelas
years in prison.

Exact movements rehearsal and

setting, left actor Stefan Gebelhoft,
right director Marc Kbler

Car park, Dsseldorf

Location scouting with sunset atmosphere

The Team Included:

Director/script/Avid-editing: Marc Kbler
DoP: Michael Weyhers
Assistant: Dirk Steinmeyer
Digital images: ARRI Digital Film

The Airbag

A professional 35 mm production with the

most modern post-production and trick
effects was planned. ARRI Digital Film was
one of the companies that offered great
support. Angela Reedwisch and the Flame/
Cineon team were enthusiastic about this
social project. Thus one of the optical highlights was created digitally the combination of two layers of action. The scene: a
storyboard is left lying on the desk in an
office. As the camera draws closer, the
drawings come to life: the display of a hand-

31

A Selection of Currently Serviced Productions

ARRI Camera Rental, Munich

Title

Production Company

CASCADEUR

Cascadeur Filmproduction

EYES WIDE SHUT

Warner Bros./Hobby Films

JAGDSAISON

Arbor Filmproduction

TARZAN & JANE

Director

DoP

Equipment

Hardy Martins

Markus Fraunholz

435

Stanley Kubrick

Larry Smith

535B

Karola Hattop

Hartmut Lange

16SR3

CineVox/Film Africa Worldwide

Carl Schenkel

Paul Gilpin

535/535B/435

TOM GERHARD 2

Constantin Film

Gernot Roll

Gernot Roll

535B/435

WHEN THE LIGHT COMES

Added Films International

Stijn Coninx

Theo Bierkens

535B

WIDOWS

Hager Moss

Sherry Hormann

Hans-Gnther Bcking

535

ABEL

TV 60 Filmproduction

Marc Rothemund

Johannes Kirchlechner

16SR3

shooting already completed:

CRAZY SIX

Wild Side LTD/Crazy Six

Tom Karnowski

George Mooradian

535

DATING GAME

Olga Film

Anno Saul

Hans Grimmelmann

16SR3

KULL THE CONQUEROR

Korsala

John Nicolella

Rodney Charters

535/535B/435

NACHTS

Avista Film

Peter Fratzscher

Thomas Merker

535

SIN QUERER

Trans Film

Ciro Capellari

Jrgen Jrges

535/BL4s

SPINNE IM NETZ

Arbor Filmproduction

Heidi Kranz-Fischerauer

Mike Gast

16SR3

THE HARPIST

Schlemmer Film/Jester Pictures

Hansjrg Thurn

Gerry Lively

535/BL4s

WEIHNACHTSFIEBER

Clausen & Wbke

Paul Harather

Gernot Roll

535/535B

ZWEI FRAUEN ZWEI MNNER Olga Film

Vivian Naefe

Peter Dttling

535

ZWEI IM BERG

Christoph Khn

Peter Indergant

BL4s

32

Cinecas Film/Ventura Film

NACHTS

ARRI Digital Film

Title

Production

Director

Service

OBSESSION

Multimedia GmbH

Peter Sehr

Digital Compositing, Title Editing

BANDITS

Olga Film

Katja von Garnier

Digital Image Restoration

(Anti-Flicker, Wire-Removal)
Title Design and Digital Compositing

NACHTS

Avista Film

Peter Fratzscher

DER UNFISCH

Terra Film Production Robert Dornhelm

Digital Compositing in Cineon of

Stock Footage and New Material
Wire Removal

ZWEI IM BERG

Ventura Film

Christoph Khn

Digital Compositing Cineon/Flame

Crowdshot

GIPSY MAGIC

Vardar Film

Stole Popov

Digital Compositing Cineon

Creating of Stars in a Night Sky

FEARLESS FOUR

Bioskop Film

DER UNFISCH

Marlboro Abenteuer Michael Conrad & Leo Burnett

Team 97
BEARS PAW PRINT

ARRI Lighting Rental,

Munich
Title

Hager Moss

WEIHNACHTSFIEBER

Hofmann & Voges

FORSTHAUS FALKENAU

NDF

DR. STEFAN FRANK

Phnix

DEUTSCHE BA

Input

BULLYPARADE

BANDITS

NDF

BYE BYE LOVE

Digital Compositing Cineon

Colour Correction, Title Editing,
Different Country Versions

Studio Koliba

KATRIN IST DIE BESTE

Digital Filmrecording

Production

CRAZY SIX

Visual Effects 3D and Compositing

Pro 7

BMW OPEN 97

Iphitos

WHEN THE LIGHT COMES

Added Films

ABEL

TV 60

33

Siemens TOM
German Answer
Production

ARRI TV
TV Commercials
Title

Production

Siemens EDITION 150

Hager Moss Filmproduction

Siemens TOM

German Answer Production

Pro 7 BRSENGANG

E&P Commercial

Bitburger FORMEL 1

Heye & Partner

BFG DER BANKEXPERTE

German Answer Production

Deutsche BA VORURTEILE

Input Filmproduction

Fanta INSIDER

Made in Munich

Arte SGI WETTER OPENER

Velvet Medienagentur

Coppenrath & Wiese TRADITION

Frames Filmproduction

Citroen Xantia CRASH

Clay Coleman Associates

C&A YA.HO.HE

Roman Kuhn Filmproduction

Maggi SNACK

Interteam Filmproduction

Swatch CITYSURFER

HelliVentures Productions

Citibank AUSTRALIEN

Input Filmproduction

Chip MONITOR

Siemens EDITION 150,

Embassy of Dreams

Embassy of Dreams

BMW SHOWROOM

Bigeyed Beans Productions

Feature Films and Series

Title

Production

OPERNBALL

Constantin Film Production

MUSTERKNABEN

NDF Mnchen

TODESSPIEL

Multimedia

DER SKORPION

MTM Cineteve

MIDNIGHT FLIGHT

Gemini Film

MRDERISCHER SOMMER

Frankfurter Filmproduction

14 TAGE LEBENSLNGLICH

Helkon Film

WHEN THE LIGHT COMES

TV 60 Filmproduction

CHAOS QUEEN

NDF Mnchen

FRAUEN LGEN NICHT

Cobra Film

TWIGGY

Claussen & Wbke

KALKULIERTES RISIKO

Frankfurter Filmproduction

ALARM FR COBRA 11
DIE AUTOBAHNPOLIZEI

Polyphon

DIE AUBERGERS

Objectiv Film

MONDSEE COPS

Beo Film & Fernsehproduction

ROSSINI ODER DIE MRDERISCHE FRAGE

WER MIT WEM SCHLIEF

DR. STEFAN FRANK

34

Diana Film
Phoenix Film

ARRI Sound
Sound Post Production at
ARRI Sound Studios
PICASSO, the new film by and with Herbert
Achternbusch was the first cinema film project
of 1997 produced in Studio A.

SABBATH IN PARADISE The realization of Claudia

Heuermanns work lasted three years. Jewishorthodox tradition, in this documentary film,
meets the new avantgarde culture of Lower
Eastside: stories of various musicians in todays
New York entangle with an old jewish legend.
OBSESSION director Peter Sehr, together with
Helga Wagner (Sound edit) completes his new
film. Sound mix: Tschangis Chahrokh.
DER SCORPION a remarkable tv play.
Editing: Christel Sukow. Music: Dominik Graf,
Helmut Spanner. Sound mix: Max RammlerRogall.

FRAUEN LGEN NICHT a spitting image comedy

with Jennifer Nitsch, Martina Gedeck and
Hans Peter Sattmann.
Production: Cobra Film. Director: Mike Juncker.
Editing: Ulrike Pahl. Rental: Buena Vista.

DIE

The KARAJAN KONZERTAUFZEICHNUNGEN from the

years 1982 to 1989 are digitally re-mixed.
Beethovens symphony no. 1., 8. and 9 and
Tchaikowskys symphony no. 6 have already
been re-newed. The complete works is to be
published on a 35mm copy with SDDS digital sound or Dolbydigital for special cinematographic use and/or DVD with 6-track sound.
Production: Telemondial S.A.M.

From May 25 on, CRIMETIME will be shown in

the cinemas. George Sluizers film a composition of satire and psychothriller reflects the
relation between mass media and violence.
The international production was completely
supported and looked after by the ARRI Sound
studios in 1996.

NACHTS by Peter Fratscher for Avista

Filmproduction.
Editing: Barbara Gies.
The thrilling film with Jan Josef Liefers, Ulrike
Mhe and Marie Bumer acting in the main
cast tells the story of an author who gradually
misses to distinguish between reality and fiction when writing a story about werewolves.
It is not a horror film, not a thriller, not a
love-story but a bit of all, says producer
Herbert Rimbach. The music for this lavishly
created soundtrack was composed by Ali N.
Askin.
Sound design: Marcel Spisak, Sloweig Bores.
Sound mix: Max Rammler-Rogall.
Also in Dolby digital the Swiss/French/German co-production IRRLICHTER was produced.
A reality tv-report shot in a cave turns into a
life-threatening situation, explains director
Christoph Khn: A woman (Barbara Auer)
and a man (Tobias Langhoff) who at first cannot stand each other fight side by side to reach
the daylight.
Sound designer: Marcel Spisak. Music: Alex
Kirschner. Editing: Birgit Klingel. Foley artists:
Mel Kutbay. Sound editing: Lisa Liel/Steffie
Geiler. Sound mix: Max Rammler-Rogall.

In Studio C the series DER BERGDOKTOR, KATRIN IST

BESTE, TRIKE and LADY MAYERHOFER were mixed.
Production: NDF. Sound mixer: Tschangis
Chahrokh, Martin Schalow and Anton Rdler.

Technical News
The upgrade of two further edit suites equipped
with Pro Tools III, Yamaha O2R Digital consoles
and diverse periphery will be completed in the
near future. The complete on-line connection of
sound mix studios with edit suites and a new
recording room for dialog and foleys offer new
possibilities for the area of commercials. This
also includes the fast building up of our sound
archive, run by Christoph Ebhard.
In future, Studio B, with a new digital console
and new look will not only offer sound recording but also the complete range of sound post
production and as a mix studio.

Personality
In April, the sound designers Magda Habernickel
and Anette Prey, with their new company
Soundabout, moved into our facilities.
Also technically on-line and business-wise
independant, Jrgen Roth will join us who
made himself well-known with sound design
and mixing in the field of commercials.
Welcome Jrgen.

Klaus Wendt mixed the German film version of

Shakespeares HAMLET for the PPA Film GmbH.

ARRI Sound:
front row (l. to r.) Annemarie Huemer,
Tschangis Chahrokh,
Max Rammler-Rogall, Petra Frhlich;
back row Thomas Schwenke,
Stephan Boehme de Marco,
Florian Feichtmeier, Peter Notz,
Julian Mller-Scherz, Florian Gro,
Igor Stimmer, Christoph Ebhard

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Support Camera
Gnter Zoeh
D-089-3809-1209

ARRI Sound
Max Rammler-Rogall
D-089-3809-1628

ARRI Lighting Rental

Tim Ross
GB-0181-561 6700

Camera Rental,
Munich
Robert Wiesmann
D-089-3809-1325

Laboratory
Josef Reidinger
D-089-3809-1339

ARRIFLEX Corporation
Franz Wieser
USA-0914-353 1400

Lighting Rental,
Munich
Hubertus Prinz
von Hohenzollern
D-089-3809-1345

ARRI contrast GmbH,

Berlin
Laboratory, Sound,
Videopostproduction
Peter Petersen
D-030-3 000 91-11

CSC Camera Service

Center
Neil Bahnemann
USA-0212-757 0906

ARRI TV
Franz Kraus
D-089-3809-1512

ARRI GB Ltd
Nick Shapley
GB-0181-848 8881

ARRI Digitalfilm
Angela Reedwisch
D-089-3809-1574

ARRI Media
Simon Broad
GB-0181-573 2255

ARRI Canada
Penny Watier
CDN-0416-255 3335
ARRI Italia
Massimo Lobefaro
I-02-26 22 71 75

http://www.arri.com
Arnold & Richter Cine Technik, Trkenstrae 89, D-80799 Munich
Phone D-089-3809-0, Fax D-089-3809-1791

Expo Calendar 1997

These are the most important exhibitions at which you can
find out about ARRI products and services.
03.06. 05. 06.

Show Tech

Berlin

13.06. 15. 06.

Showbiz Expo West

Los Angeles

01.07. 04. 07.

SMPTE

Sydney

14.10. 17. 10.

Satis

Paris

09.10. 11. 10.

LLB

Stockholm

16.10. 19. 10.

Koba

Seoul

16.10. 20. 10.

IBTS

Milan

20.10. 23. 10.

Asia C.S.+B.

Kuala Lumpur

24.10. 26. 10.

LDI

Las Vegas

30.10. 01. 11.

Broadcast India

Mumbai

Published by: Arnold & Richter Cine Technik, Trkenstr. 89, D-80799 Mnchen
Editor, editorial office, text: Editor J. Thieser, Marita Mller
With additional text by: Rolf Thissen, Roland Breitschuh, Philipp Timme, Rob de Wind,
Geoffrey Simpson, Romain Geib
Artwork: Uwe Heilig, Hans Schmid, Mnchen Printed by: rapp-druck GmbH, Flintsbach
Litho: EDTZ, Ottobrunn
Technical data are subject to change without notice

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PHOTO: JACK ENGLISH

Key Contacts