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D i g i t a l S e r v i c e s

L i g h t i n g

S e r v i c e s

D - 2 0 a t the MetaV i s ion Use r Tr i a l s 04

A R R I F L E X 4 3 5 Xt reme 08

Andrew Lesn ie Lec tu res a t Be r l i na le 10

A Ques t ion o f the Lens 13

A R R I M O T I O N Do l l y Wor ld P remie re 20

A R R I M O T I O N Laptop So f tware 22

Updated A R R I C A M D o c u m e n t a t i o n 23

A R R I L D S fo r A l l App l i ca t ions 24

Updated W i re less Lens Cont ro l Sys tem 26

Dig i ta l In te rmed ia te on the MoveFotoKem 14L ipSyncPos t 16Wor ldwide 18

A R R I S C A N Mic ro - s cann ing and App l i ca t ion Matched Pa ramete r s 28

C o l o r M a n a g e m e n t a Sneak P rev iew 30

Need a P i t S top? 31

G R A N D E F R AT E L L O Big B ro the r i n I ta l y 32

SKY PANE L La tes t P roduc t In fo rmat ion 33

A R R I s S K Y PA N E L Receives Honorable Mention from L D I 34

A R R I X 5 Adds H M I F lood l igh t to the Even t Range 34

ISO 9001:2000 A Smal l S ign w i th a B ig S ign i f i cance 35

On -Se t w i th C U R S E D 36

A R R I F L E X 1 6 S R 3 Spr in t s E f fo r t l e s s l y fo r N ike 38

Super Bowl & Win te r X -Games 40

CSC New York Ce leb ra tes i t s 5 0 T H Ann ive r sa r y 42

D I R T Y D A N C I N G : H AVA N A N I G H T S 43

Who i s Shoot ing in Canada? 44

Z A PATA Revo lu t iona r y D reams in Mex i co 46

Pa in t ing w i th L igh t 48

What s i t A l l About , Ash ley? 50

A R R I C A M s in Denmark 52

The Future Looks Bright for South Afr ica 52

V ive la F rance V ive l A R R I C A M 53

L A K S H YA F i lm ing in Ind ia on H ighe r G round 56

Dig i ta l In te rmed ia te a t ARR I D ig i ta l F i lm 60

T R I X X E R 62

Dig i ta l F r u i t Show 65

German F i lms Shot Ab road 66

Tu rk i sh Success F i lm V I O Z E N T E L E 2a t A R R I F i lm & TV in Mun i ch 67

With A R R I on the Fas t Lane 68

VAN HELS ING 69

A R R I Renta l L igh t ing and G r ip on New Loca t ion 70

A R R I Milestones at bvk Convention 71

A R R I L igh t ing So lu t ions Be r l i n 72

Be i j i ng F i lm Academy, Ch ina 73

Congra tu la t ion to the W inne r s 74

I n s igh t i n to a F i lm Gen ius B ra in 75

BSC Opera to r s N igh t 75

Retu rn o f the A R R I - Team . . . 76

A Se lec t ion o f Cu r ren t l y Se r v i ced P roduc t ions 77ARRI Rental Germany ARRI Media Camera Service Center (CSC)ARRI Lighting Rental ARRI Visual Effects ARRI Commercials ARRI Sound ARRI Lab TV Drama

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PHO

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Dear Fr iends of Fi lm

I am delighted to present to you our NAB 2004 edition of the ARRI News. As inthe past, you will find articles on our product innovations and reports from filmproductions around the world. A special section is devoted to Digital Intermediate.DI is probably the most innovative technology in film production since computergenerated imaging. The technical building blocks for the DI process have signifi-cantly improved and matured in the past two years. Today, film scanners, IT-basedstorage systems, conforming and color grading packages along with film recor-ders offer highest image quality and reasonable throughput at affordable costs.Based on this technology, the success of DI will quickly spread across the globe.We are proud to be a driving factor in this innovation with the market introductionof the ARRISCAN.

This NAB there will be together with the ARRILASER and the color managementsoftware a commercial film-to-film solution available to the film industry for thefirst time ever that can form the backbone of the DI process.

As 35 mm negative film capture is the undebated quality source of the DI process,ARRI is continuously designing and improving products for film capture. This NABwe will be presenting the 435 Xtreme.

Based on the proven 435 platform, the 435X will incorporate the latest innova-tions such as the Lens Data System LDS along with a wide range of enhancementsin one package. The enhancements will address new functionalities and ease ofoperation as well as speed issues.

Despite film still being the undisputed quality capture media, digital acquisition ismaking inroads. ARRIs approach to digital capture was first shown as a functionalprototype called the D-20 at the last IBC. Since then, various improvements havebeen implemented and a short-form film was shot. We attended several events inEurope and the USA where we presented the D-20 concept and the prototype camera. The response from cinematographers, rental and production was so encou-raging that we are pushing the project and expect to have several prototype cameras ready for pilot applications by the summer of this year.

But regardless of all the positive response we received for the good-looking imagesfrom our first film shoot we are clearly aware of the inherent technical limitations ofdigital capture and storage, today and in the foreseeable future. For this reason wecontinue to invest in R & D projects for film-based products.

Please enjoy reading our magazine. For those of you who will be coming to NABthis year: the international ARRI staff and myself are looking forward to meetingyou at the ARRI booth.

Sincerely

Franz Kraus

D-20

04 C a m e r a

Since the first appearance of the D-20 at IBC 2003 in Amsterdam there has been great

interest in the project and an enthusiastic response from the production community.

The D-20 functional demonstrator is based on a single, custom-made 6 million pixel

CMOS sensor, with an image area equal to that of a 35 mm full aperture film negative.

This novel approach allows the use of all conventional 35 mm format cine lenses.

Reflecting its ancestry and the wishes of the potential users, the D-20 is equipped with

a mirror reflex shutter and an optical viewfinder.

D-20 at the MetaVision

The next step in the development process wasto put the D-20 on a set to gain practical experience and gather user feedback. The firstof many such tests took place during theMetaVision user trials, a culmination of ARRIsinvolvement in this European research pro-ject. The D-20 itself was developed as an integral part of the MetaVision project andrepresents the image capture front-end of thesystem, providing the required digital dataformat while at the same time supporting theneeds of a professional camera team. To verifythe concepts developed in the project, theuser trials were designed as a complete testproduction that put the MetaVision chainthrough its paces and investigated its capa-bilities in detail, including such aspects ascontrast handling, depth keying and slowmotion capabilities.

The shoot was arranged at the UK head-quarters of MetaVision project leader Snell &Wilcox across a day and a half of mixedweather in November 2003. Director TonySalmon had created the concept of a clas-sical music promo involving the talentedyoung violinist Nicola Benedetti, playing ashort piece by Henri Wieniawski.

The test gave the assembled high-tech geara good work out, including the D-20 func-

Director Tony Salmon (l.) andDoP Greg Minassian

tional demonstrator, the equipment for depthmapping from the BBC in the UK and the so-phisticated disk-based recording technologyfrom Snell & Wilcox. Because of the D-20sdesign, the production was able to use con-ventional camera accessories and grip equip-ment, which were provided by ARRI Media.This was essential, as it allowed the equip-ment to be brought out of the lab and onto aprofessional outdoor set (albeit with somevery long cables!).

During the preparation day, Tony Salmontogether with DoP Graham Minassian asses-sed the shots and decided that they needed

additional lenses. Since the D-20 utilizesstandard 35 mm format lenses, ARRI Mediawas readily able to supply the lenses fromits vast inventory. ARRI Lighting Rental sup-plied all the required lighting equipment.

To support the unique features that had beendeveloped in the MetaVision project, thecamera was configured to run in a specialMetaVision mode that allowed images to becaptured at a rate of 72 fps. While the full28802160 pixel count of the D-20s imagesensor would have been beyond the datahandling capabilities of the test equipmentat this frame rate, the read-out flexibility pro-vided by the CMOS-sensor made it possibleto downscale the frame size to 19201080pixel to fit the available bandwidth.

To further lessen the data load, only everythird image was stored with its full informa-tion content, representing a standard framerate of 24 fps. The intermediate frames, onthe other hand, were significantly compress-ed thus effectively reducing the required datastorage capacity.

In combination with the high quality streamof 24 fps frames, this special form of imagedata provided the basis for adding motioneffects in post-production. Using the motion

05C a m e r a

Star violinist Nicola Benedetti featuresin the MetaVision test production

User Trials

06 C a m e r a

information contained in the intermediateframes, it was possible to create a slow-motion effect at greater than 72 fps or addmotion blur to specific frames.

One of the sequences also utilised a novelmethod of depth mapping, pioneered by BBCResearch & Development (another projectpartner), using standard definition camerasmounted to the left and right of the D-20 toprovide depth information. This additionaldata was used in post-production as the ba-sis for generating keys, providing the abilityto create composites without having to re-sort to blue or green screen techniques whileshooting. This technology promises to beespecially useful for outdoor scenes.

Due to the experimental nature of the test set-up the captured images required a substan-tial amount of post-processing before it was

possible to view them in their final quality.At the time of the test production, the came-ra was not yet fitted with the live-HD outputthat was developed to provide high qualitymonitoring. During the shoot, the only liveimage the crew could view was a black andwhite respresentation of the raw MetaVisiondata. Of course, as with any conventionalfilm camera they could rely on the optical

viewfinder for an accurate representation offraming and composition. After confirmingthe quality of some exposure tests that hadbeen processed offline, the crew was surethat they got what they saw.

After extensive data-processing, editing andgrading, the opus finally had its premiere asa digital projection on the big screen. Aspart of a presentation of the MetaVision Pro-ject by Snell & Wilcox, it was shown to pro-fessionals from the production and post-pro-duction industries at the Hollywood Post Alli-ance Technology Retreat that was held in PalmSprings, California in February of this year.

Nicola Benedetti at Snell & Wilcox

Two additional cameras provide depthinformation for post production

The D-20 CMOS sensor providescapture format flexibility within the 18 x 24 mm image area: 2880 x2160, 2880 x 1620 or as in MetaVision 1920 x 1080 pixels Slow motion sequence captured at 72 fps

07C a m e r a

The overall reaction was very positive. Theimages show none of the typical artefactsassociated with video and the cine-lensescreate an excellent impression of depth.

DoP Graham Minassian was very enthusias-tic about this experimental camera: I havebeen shooting with ARRI cameras for morethan 30 years, but I have used standard-resolution DigiBetas and HD-cameras as well.For the first time while shooting (digital) video, I could use an optical viewfinder, cinelenses and other accessories without any restrictions! The D-20 seems to be a realARRI as far as I can judge from this test.

Of course, the test production also uncovereda number of areas where improvement willbe necessary before this innovative techno-logy can be used efficiently in a professionalenvironment. Still, the tests proved that theD-20 points in the right direction in combin-ing the best of both worlds: Film-style opera-tion and high quality digital image acquisition.

Bil l Lovell, Andreas Berkl, Michael Koppetz

The MetaVision Partners

Snell & Wilcox ARRIBBC R & D INESC Porto France 2 University of Padua

Film-style depth-of-field thanks tothe large format sensor

Crew for the test shoot

Director: Tony SalmonDoP: Graham MinassianFocus Puller: Alex HoweGrip : John RakeGaffer: Bill BulpittTechnical Advisors ARRI: Bill Lovell,

Andreas Berkl

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11 1995 08 1996 07 1997 02 1998 11 1998 05 2000

ARRIFLEX 435 & 435 ES, 4 perforationFEM-1Anamorphic Viewfinder

Steadicam Magazine IVS 300 m / 1000 Magazine Single Frame System WRC-1

Available with either 4 or 3 perforation move-ments, the 435 Extreme combines the fea-tures of the 435 ES, 435 Advanced and theFunctional Expansion Module 2 (FEM-2) inone package, resulting in the most flexiblecamera for MOS work. Still as small androbust as its first iteration, the 435 Extremeis ideal for features, commercials, music vid-eos, Steadicam, special effects or motioncontrol work alike.

Feedback from the market over the last tenyears has resulted in a multitude of new functions and options for the 435 Extreme:

A super bright high quality viewfinder,available for either spherical or anamor-phic viewing.

An extensive speed range from 0.1 to150 fps.

The latest generation of the ARRI IntegratedVideo System, the IVS-2, not only shows abrilliant, bright video image, but can also superimpose camera status informationand frame lines, allows for automatic ormanual color balancing of the image andcan preview motion blur effects.

A new ramp generator improves rampingcapabilities with faster and smootherramps. An even wider ramping speedrange from 0.1 straight to 150 fps is possible.

With the Single Frame System the 435Extreme transforms into a single frame/ timelapse camera. The unique IntegratedCapping Shutter (also available in 4 or 3perforation) allows viewing of the view-finder and video assist image even whenthe shutter is closed.

With the Motion Control Interface (MCI)the movement, mirror shutter and InternalCapping Shutter can be independentlyand frame accurately controlled by amotion control computer.

Tight integration with the ARRIMOTIONsystem makes for a powerful set up thatincludes frame accurate go motion, stopmotion and ramping capabilities.

From the ARRICAM the 435Extreme inher-ited the built in Lens Data System (LDS Ultra), which saves time and allows the assis-tant to work more efficiently on the set.

Since the ARRIFLEX 435 camera

first saw the light of day in 1995,

it has become the workhorse of the

film industry, the golden standard

for MOS camera work. Over 1,200

cameras were sold worldwide,

and 435 cameras can be seen in

use in LA, Toronto, London and

Berlin, from the deserts of Dubai to

the wide Chinese landscapes, from

Africa to Australia. Based on the

original 435 design, ARRI has con-

tinuously updated the camera to

add versatility and features, culmi-

nating now in the 435 Extreme.

Xt r e m eA R R I F L E X 435

09C a m e r a

07 2000 11 2000 07 2001 10 2001 05 2003

ARRIFLEX 435 & 435ES, 3-Perforation

IVS II Motion Control InterfaceARRIFLEX 435 Advanced FEM-2 ARRIFLEX 435 Extreme

04 2004

The 435 Extreme can be outfitted with anextensive range of accessories for anyshooting situation. These include 120 m /400" magazine, a 300m/1000" maga-zine, a Steadicam magazine, a 100 %Video Top, Single Frame System, MotionControl Interface, Universal Radio Module,Lens Data Displays, and ARRIMOTION.

The 435 Extreme is of course also tightlyintegrated into the existing ARRI acces-sories, of which it shares many with the

ARRICAM, from the small and modularWireless Lens Control System, the Wire-less Remote Control (WRC-1) to the rangeof follow focuses and matte boxes.

The electronics for lens motors have beenintegrated, and the camera side radiomodem (URM) for wireless lens and cam-era control has its own place reserved,giving the camera the smallest envelopepossible.

A R R I F L E X 435 Model Comparison

Feature 435 435 ES 435 Advanced 435 ExtremeFaster & smoother ramps Ramps from 0.1 to 150 fps Lens Data System Integrated lens motor electronics Integrated modular wireless radio (no cables)

ARRIMOTION frame accurate ramps ARRIMOTION stop & go motion Speed Range 0.1 to 150 fps Motion Control Interface Slow ramp up for Steadicam& cranes Electronic mirror shutter Spherical or anamorphic viewfinder Integrated Video System 4 or 3-Perforation movement Compatible with Single Frame System

Single Frame System

IVS II

Motion ControlInterface

LDS Contacts

FEM-2

Las Vegas Shot Zuma Beach ShootMeguiars Shoot

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10 C a m e r a

Andrew Lesnie

Lectures at Berl inaleWednesday, February 11 was cinematographers day at the Berlinale, Berlins big film festival. ARRI had invited

Andrew Lesnie, cinematographer of THE LORD OF THE RINGS trilogy, to share some of his experiences during

two events. In the morning Andrew Lesnie appeared at the Hollywood Lectures, which were organized by Media

Business Academy. He talked about some of the organizational challenges of THE LORD OF THE RINGS in front

of an audience of producers and cameramen, and showed and commented a tape of behind the scenes foota-

ge. The tape included most of the elements he had been asked about in the past, including the Massive pro-

gram, the horse chase, the issue of scale doubles, the creation of a digital Gollum and forced perspective.

In the afternoon he gave a lecture at the for-mer convention hall known to Berliners asthe pregnant oyster (House of Word Culturesnow), as part of the Talent Campus series inan auditorium filled with aspiring cinema-tographers, directors and script writers. Heshowed some earlier work, including scenesfrom BABE and a documentary on weight lift-ing with the now governor of California. Whilediscussing the specific techniques he used in previous projects to translate scripts to thescreen, Andrew Lesnie explained how allthose lessons were applied in THE LORD OFTHE R INGS , and gave this advice: Twentyyears from now you draw on lessons fromwhen you were never thinking that you wouldbe at the helm of such a huge project. I guessthe lesson here is whatever you do, do it well,since you never know when it will come inhandy. Below are some of the questions andhis answers compiled from those two events.

?: Is THE LORD OF THE R INGS now finished?

Andrew Lesnie: No, we are still working onthe third film. This is the first film I have everworked on where we are still shooting whilethe film has actually been released to thetheatres. We are still filming miniatures, andWeta Digital is still doing effects shots, andI will go back to New Zealand in March totime the extra footage for the extended DVD.On top of the theatrical release there is goingto be an extra 49 minutes; the film is cur-

rently running 3 hours and 20 minutes, so itwill be 4 hours and 10 minutes for the ex-tended DVD. So in fact Ive got several moreweeks work to get the third film done, andthat will be finished sometime in April, andthat will formally be the end of the projectfor me.

?: Since there were a lot of units shooting simultaneously, how did you manage that?

Andrew Lesnie: First I talked with Peter Jack-son extensively about the film and definedthe look I wanted. Then we decided with theseparate departments on what equipmentand methods to use. During shooting I triedto make their job as easy as possible whilestill keeping the look constant. Every night Iwatched the rushes from all units. Since attimes we had up to nine units going, that wasquiet a bit of film. Sometimes it was five hoursof rushes after a twelve hour day, and at theend I would look around and the few peoplethat were still there would be snoring. Thatevening or the next day I would call the otherDPs and let them know what I liked or dis-liked.

?: Did you consider shooting THE LORD OFTHE R INGS digitally?

Andrew Lesnie: I have looked at some HDcameras but did not feel they were adequate.Film is still by far the best capture medium,

11C a m e r a

and film cameras are much more practicaland versatile than digital cameras. Eventu-ally the digital systems will get there, but thetruth is that film has taken a while to get there also. I am not a film dinosaur, but I amnot a digital junkie either. I just try to pullthe appropriate resources together for theproject I work on. But I am also realistic about the fact that films go through the digi-tal intermediate process now.

?: How did the decision to use the digital intermediate process (DI) come about?

Andrew Lesnie: Peter Jackson and I decidedright from the beginning that we would digitally grade the project. When I first metPeter Jackson, the only film that had beencompletely digitally timed was the Coenbrothers film OH BROTHER , WHERE ARTTHOU. Peter and I talked about the natureof shooting our project, and my concernswere that New Zealand has very turbulentweather. I have often said that you can havesix seasons in one day; you can have every-thing from a beautiful blue sunny sky to hail-ing and then snow and then back to warmweather. And that is the nature of why thecountry has such beautiful landscapes andlooks so rich, because it has such melodra-matic weather. So if you are filming and youhave to maintain continuity over several daysand you know there is not much likelihood ofthat going to happen, then you have to start

investigating what you can put in place tomake it happen. For me, back in 1999, di-gitally timing sequences was an opportunityto allow us to keep shooting in weather thatwasnt so terrific. On a completely practicallevel it allowed us to keep the momentum onset, knowing that I had more facilities to dosomething about it later. So that was a hard,practical consideration, but there were othersalso.

?: How did you determine if a shot in badweather could be saved by the digital inter-mediate process?

Andrew Lesnie: I did extensive tests duringpre-production to see what it would take tomatch two scenes shot in different weather,to see how much the film would hold andwhat could be restored in DI. From that I knewhow far we could go on the set. So if theweather changed and it remained withinthose parameters, we could just keep shoot-ing. We could shoot longer and grade ourway out of it.

?: What other considerations were there inregards to the digital intermediate process?

Andrew Lesnie: We knew that we would befilming sequences that would include minia-tures, aerials, life action plates, blue screenelements and digital animation, and all thesethings had to come together, even though

they were shot by several units shootingright across New Zealand. So, lets say youwanted to shoot an elvish sequence, andyou had the philosophical approach that itwas going to be cool pastel blues and dif-fused, the problem would be that if you hadall these people applying different kinds ofdiffusion or different levels of diffusion basedon the weather pattern or apply none basedon the fact that if it was blue screen, once allthat stuff came together it would be a realmess. The digital intermediate allowed us toseamlessly integrate all those elements. Weeven color graded individual elements beforethey were composited, and then graded thefinished effects shot again. This double grad-ing was able to compensate for slight differ-ences in the elements and is one of the rea-sons the effects integrate so well with therest of the footage. With the DI process I hadcomplete control over the different looksused in the films, and I was able to come upwith looks that we could not have been get-ting during principal photography.

So the major reasons for digital intermediatewere the weather, the ability to control thelook with all those different elements and thatwe had complete control over the entire pro-ject after the fact and that we were not rely-ing on the limited tools at the lab to do it.

?: So all three films used the digital interme-diate process throughout?

Andrew Lesnie: The first film was not a com-plete digital intermediate originally, maybe70 %. The problem with DI at the moment isthat all the live action stuff is scanned at 2K.As much as there are claims that when youscan in at 2K and output at 2K you aregoing to get the same looking film in all res-pects like your work print, well, it is not true.I think probably closer to 4K will give youwhat you get from your work print. I was

Franz Kraus (left) hosted the Talent Campuslecture with Andrew Lesnie (right)

Andrew Lesnie checks out the ARRICAMLITE at ARRI Rental Munich

12 C a m e r a

disappointed by the digital intermediate stufffrom the first film, and so we talked to theproduction about scanning at 4K, and it wasprohibitively expensive for the amount offootage and the amount of work we had tohave done. For the second film, Peter Doyle,who put together our color grading facilityand did all the color grading, and I inves-tigated relentlessly what can be done, andPeter eventually solved it. He found a wayof increasing the contrast and the resolutionwithout bringing up the grain. So the secondand the third film benefited from being shar-pened but still maintained a reasonablegrain structure. Before we started timing thethird film, at Peter Jacksons request we wentback to film one, scanned in the 30 % thathad not been scanned previously and outputthe first film as a digital intermediate. So nowall three films have been completely digitallytimed.

?: How important is the technology you use?

Andrew Lesnie: I approached this film likeevery other film I have ever tackled. The actual issue of technology in film is a secon-dary consideration. For me script and per-formance are always the two overwhelmingpriorities on a film. However, when you likethe script and the script is visually suggestiveand you discuss that with the director, youstart to come up with visual concepts. Fromthat point on it becomes a technical issue ofwhat gear, what cameras, what stock andwhat technology is going to make that visioninto reality. In general, I always look for thesimplest way to solve a problem, and if some-thing can be done with a piece of chewinggum or a rubber band, that is fine.

Now on the set, there are times when I maketechnical sacrifices for the benefit of the cast.As a cinematographer I am fierce about pro-tecting the authorship of an image, but whenyou are on a working set and you becomeaware that something technical is getting inthe way of a cast member getting a perform-ance, then I would trade down the techno-logy to get the performance.

?: What can the DoP do to ensure a goodperformance?

Andrew Lesnie: We were constantly tryingto adjust our methods to ensure the bestperformance. One example is the issue of thedifferent scales. We were cheating perspec-tive and size all the time and in the beginningthe actors were performing to the scale dou-bles and not to the other actor, so conse-quently they were not giving the kind of per-formance they were hoping to deliver. Veryearly on the actors said that is something theymissed, so as the shoot wore on we tried todesign the coverage so that the actors couldperform to each other. Probably the mostsuccessful example of that is in the end of thefirst film with Sean Bean and Elijah Wood inthe forest just before the Uruks arrive. Basedon the topography of the landscape we wereable to film an entire master of the two of themwalking and talking around each other withone shot on a Steadicam. That was one of thehigh points of the entire shoot for us becausewe had pulled of a forced perspective usingthe two actors and we made it believableenough that Elijah is almost half Seans size.

?: Can you talk a little more about forcedperspective?

Andrew Lesnie: In the past forced perspectivehas always been done with a locked off camera. We tried to figure out a way to haveforced perspective with a moving camera.In the scene where Gandalf talks to Frodo atBagend, the table was actually two tables.Ian was actually sitting at a scaled down halfand Elijah was sitting at a scaled up half. Wewere on a dolly that was linked to the tablesto maintain the forced perspective. We used

art direction to hide where the crack is, likeputting the milk jug and other items over it.

?: How do you view the relationship betweeneffects created completely digitally and effects done in camera?

Andrew Lesnie: The beauty of this project wasthat in spite of the large number of digital effects an enormous amount of the art direc-tion was actually built, and an enormousamount of material was actually filmed. PeterJackson is very big on trying to deliver toanimators and compositors something that isreal rather than asking them to manufacturea huge amount of stuff from scratch. Some-times it is not fair to ask digital compositorsor animators to suddenly become experts inart direction, photography and performance.For instance, I think the success of Gollum wasbecause Gollum was completely acted. AndySerkis came on set to just do the voice andthen started performing the part. I think withinthe first hour everybody, including the ani-mation team, was suddenly doing a huge rethink on how Gollum was going to be ap-proached. The bonus of Andy Serkis wasthat not only is he an actor, but he is physic-ally extremely dexterous, he is very acroba-tic. He was able to perform a lot of that stuffthat Gollum does. So on the second day thatAndy was on the set the animators arrivedagain but this time they had all their DVcameras and they were filming Andy fromdifferent sides, and two of those cameraswere chasing his facial expression. I think thesuccess of this character is because he wasperformed. Despite all the visual effects inTHE LORD OF THE RINGS, it really is a cha-racter driven film.

Andrew Lesnie and Manfred Jahnat ARRI Rental Germany in Munich

13C a m e r a

A Question of the LensFor 14 months Andrew Lesnie supervised the cinematography of up to 9 units that were

simultaneously shooting the three THE LORD OF THE RINGS movies in New Zealand. We

caught up with him during the Berlinale film festival in Berlin to talk more into detail about

some of the technical aspects of the THE LORD OF THE RING's cinematography.

Andrew Lesnie: Definitely the Ultra Prime40mm. Ironically, it was the last to arrive, butit quickly became the close up lens of choice.Peters idea of a close up is essentially justthe eyes and the nose, and the 40 was per-fect for those shots. We often ended up tak-ing the matte box off since it was cutting thelight from the actors, we were so close. Thesefilms are a testament to the fantastic closefocus performance of the Ultra Primes. Theproblem, of course, when shooting so closeis that your depth of field is very small, so Iwould try to build up the stop to give my focus puller a fighting chance. Another prob-lem was that during hand held shots we keptbumping into the actors with the support rods.So the assistants made rubber bumpers outof hard foam for the rods to protect the actors.

?: Did you use any kind of filters?

Andrew Lesnie: Almost none. One of theproblems was that we had so many unitsshooting at the same time that keeping a fil-ter based look consistent would have beenhell. Once I had defined the basic look of thefilm, I told the other units to keep it as simpleas possible and to not use filters unless I spe-cifically ask for them. I also gave them abasic rating; we shot 200 ASA film at 160ASA, and the 500 stock at 320. For colorcorrection we used 85B and 81EF filters. Forthe beauty shots on Liv Tyler and Kate Blan-chet I used a black net.

?: That was attached to the back of the lens?

Andrew Lesnie: No, I had done some testspreviously and found that it does not make anydifference if you have the stocking in front orbehind the lens, except it is a lot easier to putit in front of the lens. I like to use good silkstocking, and pull it really, really tight over thelens and then fasten it with a rubber band.The effect is very subtle and people are notreally consciously aware of it. It is better thanputting a piece of glass or acrylic in front of the lens, since those are prone to flaring. Obviously you have to keep an eye on theambient light and use a matte box to keepstray light out, otherwise that can light upthe stocking, and you should watch out forhalation when you have a candle or otherlight sources in the shot.

?: Was that also used for blue screen shots?

Andrew Lesnie: We started out not using itfor blue screen, but then we did some tests,and the special effects supervisors told methat they prefer the net on the lens. Eventhough the net makes it harder for them toget a clean matte, it is ten times harder toreplicate the nets effect. Subtle diffusion effects have not been successfully replicateddigitally. So we ended up shooting life ac-tion as well as blue screen beauty shots withthe net on.

?: How important is the lens choice thesedays when you can do so much in post?

Andrew Lesnie: It is the most important choiceyou make in the whole camera system. First,different lenses give you a different feel, adifferent style. And second, some lenses aremore user friendly, more practical, and thusallow you to work more efficiently.

Andrew Lesnie on the set ofTHE LORD OF THE R INGS

?: Lets start with the lenses you used on THELORD OF THE R INGS .

Andrew Lesnie: I used Zeiss Standard Speedsand Zeiss Ultra Primes, plus Cooke and An-genieux zooms. In addition we had a coupleof Canon 150600 zooms and some Canontelephoto primes. We started with the ZeissStandards and some Ultra Primes, but I knewthat there were more Ultra Primes coming, andARRI was nice enough to provide us withprototypes of the new lenses, so we had a fullset. I like to shoot with new lenses, as thecoatings are better and I knew that we wouldput the gear through some hard times, so Iwanted to start at the best possible point with brand new lenses.

?: Why did you choose the Ultra Primes?

Andrew Lesnie: I had early on decided that I wanted a soft look to the T H E L O R D O FTHE RINGS, but I did not want to compromseresolution. The Ultra Primes have great reso-lution and very little distortion on the widerlenses. Plus, I knew that Peter Jackson hadplanned all kinds of photographically chal-lenging setups, so I needed a lens that canhandle that. I shot extensive tests with variouslenses, and decided to use the Ultra Primes.Unfortunately they were so new that a full setdid not exist, so we supplemented with theStandard Speeds, but swapped the StandardSpeeds for Ultra Primes as soon as more Ultra Prime focal lengths became available.

?: Was your lens choice influenced at all bythe fact that you had planned to put a largeportion of the trilogy through the digital inter-mediate process?

Andrew Lesnie: No, not at all. I did of coursea lot of testing, and I knew that it was crucialto deliver a healthy and sharp negative to theprocess, but otherwise I just used the lenses I thought appropriate for the project.

?: Did you end up with a favorite lens?

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14 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Filmmakers interested in creating a digitalintermediate, with all the advantages themethod affords secondary color correction,repositioning and resizing of shots, flips, flops,blow-ups and speed changes are takingtheir projects to FotoKem. And, unlike manyfacilities offering such services, FotoKemslab is only yards away from the digital suite.

We do the processing right here, says BillSchultz, Senior VP and General Managerof the digital services department. We cando color corrections in the DI suite and lookat a film test four hours later. If somebodywants to compare the digital output with afilmed out version, we can A/B it right herein the DI suite, with film projection on oneside of the screen and digital projection onthe other.

FotoKem relies on two constantly runningARRILASER systems to shoot the digital workout to film. The facility chose ARRILASER,Schultz says, because of its speed and effi-ciency. They both have the speed packagethat allows them to record even faster. Wecan record a full-aperture 35 mm color pic-ture at full density at 2.1 seconds a frame.For material that started out as High Defini-tion, its more like 1.7 seconds. One of themhas a module that allows us to record out to5245 (Kodaks low-speed camera negative)because some clients who didn't shoot film

originally want to introduce a little bit of thatnatural film grain in their picture at this stage.Weve been offering film-recording servicesfor several years now and we continue todo that in addition to using the ARRILASERon shows that come here for DI work wherethe image are recorded to 5242 or 2242,Kodaks intermediate duplication stocks.

We evaluated ARRI against everybody inthis market, he adds. Arri has the best mar-ket penetration and the best market accept-ance. And, in virtually every objective test weput the ARRILASER through, it met or exceed-ed our expectations.

We knew that FotoKem has looked at otherfilm recording technology, says RichardAntley, ARRIs domestic Product Manager forthe ARRILASER, so we were delighted tohave the opportunity to prove the advantagesof the ARRILASER system.

Of course, before the project gets to the ARRI-LASER, it must be brought into the digitaldomain. Most feature films still originate onfilm, so a key link in any DI chain happensat the scanning stage. It is essential to cap-ture as much of the information from the ori-ginal negative, to take full advantage of theincredible range of todays motion picturefilm stocks, in order to get maximum benefitout of the digital manipulation. FotoKem

uses an Imagica XE CCD scanner, most frequently translating the film frames into 2K10-bit-log files in the DPX format. Schultzstresses the importance of capturing so muchinformation.

The biggest advantage [of our scanner]over a telecine type device, he says, ismaintaining the full latitude of exposure.Sometimes the original film might not havebeen exposed in the best possible way. Ifyou lose the information during the scan youcant get it back. If you capture the wholelatitude of the negative, then we can get itback.

After scanning, the images go through a digital dust-busting and clean-up phase sothat negative dirt, scratches and tears andother defects in the original negative canbe repaired.

Often, shots are scanned from originalcamera rolls rather than cut negative. Whenthis is the case, they must then be conform-ed to match the edit decision list.

FotoKem utilizes its own proprietary soft-ware during the scanning process to encodethe DPX files with metadata including timecode information, which facilitates a speedyauto-conform of shots once they are scannedinto data format.

Now in its fortieth year as a major Hollywood-area film lab, Burbank-based FotoKem

continues to grow its menu of services to reflect the needs of today's productions.

Naturally, FotoKem continues to maintain the top-notch film lab, its core business since

1964, but cinematographers and directors looking to take advantage of the latest

digital tools know they can also find what they need at FotoKem.

Foto KemDigital Intermediate on the Move

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15D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Quantels iQ plays a key role in what hap-pens next. This versatile machine can takein an EDL and the shots in data form andautomatically conform the entire show in amatter of hours. FotoKem also uses the iQsinternal color package-Q-Color--to make thecoloring adjustments. Schultz is impressedwith the iQs versatility as well as its abilityto handle the picture information as log data,without ever having to convert it to linearform. We maintain the entire 10-bits of DPXinformation, he says. That means we canretain ten stops of latitude through the wholeprocess, which is a huge benefit when com-pared with devices that require conversionto linear space. The way we work, all theinformation that was on the original negativecan be put back onto a negative.

iQ, he adds, has enhanced ability beyondthe traditional windows [used in some othercoloring grading consoles] which allows youto draw a basic shape -- an ellipsoid, a circleor a square around an object and then cre-ate roto splines. That gives you a great dealof flexibility. You can change the shape ofthe object frame by frame and affect thethings inside, or just isolate a particularcolor inside. The iQ also has editing functionswithin it so I can cut /paste a change at the

touch of a button. I dont have to go out ofthe coloring package and into an editingpackage to edit something.

The decisions made by skilled colorists andfilmmakers in the digital suite, must naturallybe visible during the session. Decisions based on a monitor or even a poorly cali-brated projector will not appear on film asthey do in the session. FotoKem uses a 2Kdigital projector from Digital Projections,which is based on Texas Instruments newestDMD engine. The digital images are alsoprocessed using proprietary lookup tables toensure that what you see projected digitallyis what you will get back on film.

Often filmmakers take full advantage of hav-ing their film already in the digital realm andadd effects or fixes that might not have other-wise fit into their budgets. Those working atFotoKem can take this work down the streetto the well respected effects house Keep MePosted, which FotoKem recently acquired.FotoKem therefore can offer extremely com-

petitive pricing by packaging DI and effectswork together.

FotoKem has begun by offering DI servicewith a single room and is networked in sucha way that a possible expansion to two, oreven three, DI rooms would be a relativelysimple expansion from a data standpoint.But even if the company expands, Schultzdeclares, it still isn't looking to do this kindof work in a high-volume, factory style. Ourmandate, he says, is to provide best clientservice and best quality. We dont have amandate for being the biggest or havingthe most business, just the best quality andthe happiest clients.

Jon Silberg

There seem to be as many applications for the ARRILOCPRO 35 projector as there are units in use.This compact projector has been used in productionto watch film dailies at remote locations through-out the world and has been adopted by postpro-duction departments for use in print inspection andcolor timing. FotoKems LOCPRO gets the most usefrom the companys film timers.We keep our LOCPRO in the Digital Film Servicesdepartment, says Schultz, but the timers like itso much they use it more than we do. It has such astable color temperature that they can put up acheck print, and adjust the color using filters maybe it needs a point of this or a point of that

and they know that theyre seeing an accurate representation of the image.And, he adds, they can do this without tying up a projection room. One of the really nice featuresis the still frame capability, he adds. They canpick one frame out of a scene and hold it as longas they need to and then move onto the next scene.Its very efficient in that way. The LOCPRO can alsoproject 3-Perforation 35. Projecting 3-Perforation isstill a challenge for most places, Schultz explains.We can do it with a couple of menu changesand that can be very helpful for the filmmaker whooriginates material in that format. Schultz sums up:Its just a great little machine.

Bill Schultz, Senior Vice President and General Manager of Digital Services

Walter Volpatto, IQ colorist

LOCPRO 35

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16 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Located in the heart of Londons Soho, Lip Sync Post is the post-production arm of the

Lip Sync Group of companies, one of the capitals most successful independent

media groups. In February of this year, the Group celebrated its eighteenth birthday.

Lip Sync Post has always recognised the importance of wise investments in both staffand new technology and in 2001, respond-ing to increasing client demand, made thedecision to create a digital lab.

Lip Sync Director Peter Hampden, who co-founded the company with MD Jon Diamondexplains, Increasingly, were seeing mate-

rial created in a wide variety of digital for-mats for eventual theatrical release on film.Its an area in which we have particular expertise. Our significant investment in the digi-tal lab means that we are now able to pro-duce top quality digital intermediates forgrading and compositing in-house, offer high-end bureau scanning, and output to film viaour benchmark ARRILASER recorders.

As the foundation of its digital intermediate(DI) process, Lip Sync Post took delivery ofits first ARRILASER system for 35mm film out-put in October 2001, followed by a secondsystem the following year. Subsequently thecompany has completed its DI chain and installed a multi-resolution grading and com-positing suite featuring Quantels iQ. For increased productivity, high speed versionsfor both ARRILASERS have also now beenordered.

The facility offers both major studio and in-dependent clients the advantages of an all-encompassing post-production service with

audio mixing, on-line editing, and graphicsand animation services, available in-houseif needed. Such an umbrella offers specificclient benefits, both in terms of creative con-trol and cost-effectiveness.

One of the first film projects output on ARRI-LASER was THE DAY I WILL NEVER FORGET,a compassionate examination of the custom

TROL LYWOOD

Director Madeleine FarleyCinematographer Rob BennettEditor Helen Lindley

Lip Sync PostDigital Intermediate on the Move

17D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

of female genital mutilation in Kenyan society, directed by Kim Longinotto. Shot onSuper16 mm film, the 90 minute documen-tary went on to win considerable recognitionat many international film festivals includingawards at Amsterdam (Amnesty InternationalAward,) Hong Kong, (Humanitarian Award,)Emden (Award of the German Unions Asso-ciation,) and Gent (Canvas Prize).

Less than nine months after installing its firstARRILASER, Lip Sync Post output its millionthframe on a last-minute shot for the most recent Bond movie D I E A N O T H E R D AYfrom Eon Productions.

Toronto 2003 saw Lip Sync Post, now withits second ARRILASER, making significantcontributions to four entries in this prestig-ious international festival: T O U C H I N G T H EVO ID (dir. Kevin Macdonald) with cinema-tography by Mike Eley is a highly acclaimeddocumentary/drama based on the book bymountaineer Joe Simpson. The film recreatesthe harrowing true story of Simpson andclimbing partner Simon Yates 1985 ascentof the sheer face of an Andean mountain.

Originally shot on 35mm and HD CAM, withlightweight 16 mm equipment used for thehigh-altitude climbing sequences, TOUCHINGTHE VOID was output to HD for editing be-fore the final output to 35 mm at Lip Sync Post.Macdonald was delighted with the result,describing it as Seamless youd be veryhard pushed to identify individual formats.The title sequences for the film were also de-signed in-house by the Graphics department.

TOUCH ING THE VO ID has now becomethe most successful UK documentary film ofall time and is enjoying considerable boxoffice success throughout the world. Winnerof the London Evening Standard Best BritishFilm of 2004, the movie also recently pickedup the Alexander Korda Award for Best Brit-ish Film at the 2004 BAFTA Awards.

Also at Toronto 2003, director Penny Wool-cock showed PR INC IP LES OF LUST whereLip Sync Post contributed the 5.1 surroundmix and designed the title graphics. Subse-quently, Woolcock returned to the facility forher film of John Adams opera THE DEATHOF K L INGHOFFER , based on a true story ofthe murder by terrorists of wheelchair-boundLeon Klinghoffer. For this project, originallyshot on Super16 mm and transferred to HD,Lip Sync Post was responsible for designingthe titles and graphics sequences. As HowardWatkins, Head of Graphics explains, Graph-ics are used throughout the film to highlightkey events during the two-day hijacking. Theyredesigned to give a newsy and contemporaryfeel to complement the drama which has evenmore significance today than when it wasoriginally staged. Following output to 35mm,the film debuted at Sundance, was subse-quently screened on UK television, and wonThe Prix Italia 2003 for Best Arts Film.

INTERM ISS ION (dir. John Crowley,) a grittyIrish urban love story starring Colin Farrell,not only caught the imagination of audien-ces in Toronto but went on to win Best FirstFilm at the Galway Film Fleadh and scoop atranche of prizes at the 2003 Irish Film and

Television Awards. Best Irish Film, Best Script(Mark ORowe) and Best Supporting Actor(David Wilmot) were awarded to the filmwhich has become the Irish Film Boards big-gest grossing movie in its ten years of ope-ration. Shot on Super16mm and transferredto HD, the final 35mm output was courtesyof Lip Sync Post which also contributed tenFX shots to the movie.

TROLLYWOOD, (dir. Madeleine Farley) whichmade its debut at the Berlin Film Festival ear-lier this year, is a powerful and poignantdocumentary feature examining the lives ofthe homeless in Los Angeles. Many keep alltheir worldly possessions in supermarket shop-ping trolleys or use the carts to earn a liv-ing by recycling trash. Shot on Super 8 mm,Super16 mm and DV, T R O L LY W O O D wasfully post produced at Lip Sync which provid-ed the film editing, sound mixing, titles de-sign and final 35 mm film output.

FA K E R S (dir. Richard Janes) was shot onanamorphic Super16 mm and transferred toHD. Set in present day London and 1911Italy, the film is a pacy tale of blackmail andforgery in the international art world. LipSync Post designed the 2D and 3D animatedtitle sequence, and provided the output to35 mm film.

In addition its work on full length featuresLip Sync Post, in association with its agencysister company Lip Sync Creative, has estab-lished a considerable reputation for the pro-duction and reversioning of 35 mm theatri-cal trailers and opening titles for major

LIP SYNC POST Gets lit upto celebrate 18th birthday

CANTERBURY TA LES ( T I T L E SEQUENCE )

Series Producer BBC, Kate Bartlett FAKERS

Director Richard JanesCinematographer Balazs BolygoEditor Adam Green

TOUCHING THE VO ID

Director Kevin MacdonaldCinematographer Mike EleyEditor Justine Wright

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18

studios. This area of activity usually involvesa good deal of departmental cooperationacross the fields of graphic design, sound,editing and film.

While S T U A RT L I T T L E 2 (Columbia Tristar)required no less than 99 separate versions,with extensive 2D and 3D compositing and5.1 sound mixing, most productions are rath-er less demanding! Over the past 18 monthsLip Sync Post has provided such a servicefor a host of features including S TA R T R E K :NEMESIS (UIP International,) PANIC ROOM,P E T E R PA N (Columbia Tristar,) and, mostrecently, T H E PA S S I O N O F C H R I S T (Icon/Cineserve).

Head of Post Production Kevin Phelan con-cludes, In todays demanding and competi-tive environment its important to invest equal-ly in technology and in people to provide acreative and competent response. Quality isthe key, irrespective of budget. Our existingclients are already reaping the benefits ofthis approach and prospective clients arefinding our proposition extremely compel-ling.

David Watsonon behalf of Lip Sinc Post

THE PASS ION OF THE CHR IST ( F RENCH T I T L E )

Director Mel Gibson

D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Animal Logic / Austral ia who also had The Matrix-Reloaded as one of their projects.

The mainstay of daily work is to record visual effects sequences thatare created by Animal Logic for feature films, but as a film bureauservice, we also have to meet the needs of our external clients. Sowe cater for commercials (video to film transfers, or kines) from PALthrough to HD (as data), short films shot on a variety of formats, digitalopticals for features that we handle ourselves in the Bureau, throughto entire features as digital intermediates. Recording a full 20 minutespool of negative for a feature is a relatively easy task on the ARRI-LASER.

Chris Swinbanks, Supervisor, Animal Logic

Weta Digital / New ZealandDuring the post produc-tion of THE LORD OF THER INGS Trilogy, Weta Digitals I/O dept. hasrecorded over 10000000frames, utilizing their twoARRILASER film recorders. Theyhave become an integral part inthe whole movie making process.Their speed, functionality and re-liability has enabled us to deliver

unparalleled images every day, every week for the last three years.

Pete Williams, Head of Digital Imaging, Weta Digital Ltd.

Moving Pictures Company / LondonThe ARRILASER recordersat MPC are essential for ourDigital Intermediate work.They provide the fast through-put required when shootingout a complete feature film.The recorder calibrations areextremely stable guarantee-ing the output digital negativeaccurately represents theimages graded within the Digi-tal Lab.

Martin Parsons

COUNTRY OF MY SKUL L

Courtesy of the International Distributor, The Works.

The MPC Laserteam

ARRILASER Team at Weta from left: Roman Gadner, Mohan Ramachandran,Pete Williams, Nick Booth

19D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Technicolor / Los AngelesS C O O B Y D O O 2 has a vibrant and colorful produc-tion design. The ARRI filmrecorder faithfully capturedevery nuance and kept thelook crisp and clean.

Trent Johnson, digital colortimer Technicolor

Hualong / China Bei j ingAs the largest digital film productionin China, Hualong Film Digital Produc-tion Co., Ltd (China Film Group), pur-chased the first ARRILASER in 2001.Over the past 3 years, ARRILASERNo.98 had been involved in many jobsincluding HD transfer and Special Ef-fects record out on film. Besides one ofthe best production crews, ARRI film cameras and the ARRILASER made upa major tribute to the recent success ofthe special effects in WA R R I O R S O FHEAVEN AND EARTH finished and re-corded out via ARRILASER at Hualong.

Hualong

Prasad / IndiaThe first and so far only in-stallation of the ARRILASERin India is at Prasad EFXsstate-of-the-art Digital FilmLab in Mumbai. It was usedwith great efficiency andsuccess for the first completeDigital Intermediate filmfrom Prasad EFX called

KHAKEE. The ARRILASER was preferred for this project because ofthe excellent quality of output and the outstanding speed of recording.

Rajkumar Santoshi, Director of K H A K E E , said at a press conferencein Mumbai: The fast turnaround, excellent quality of output and thededication of the team has convinced me to take the Digital Interme-diate route again in future.Cinematographer K.V.Anand was equallythrilled with the results and said The final output was simply outstand-ing. Currently the film LAKSHYAis taking the digital intermediateroute at Prasad..

Prasad EFX currently uses theARRILASER for various otherfilm transfers including filmsshot on HD Format.

ARRI LASER Operator at

Hualong: Mr. Wang Jupeng

Tokyo Lab / Japan AKAI TSUKI (RED MOON)The story of a Japanese woman who livedaggressively during World War 2 for herfamily and at its best for herself. The firstfull-length feature film in Japan that tookthe digital intermediate process over theentire footage using ARRI equipment. Prin-cipal photography was done mostly inChina using ARRI cameras and lightingequipment.

The original negative was scanned on aTelecine (not a film scanner) in 10bit andprocessed in post production for composit-ing and color control. First all data werestored on large volumes. But subsequentlythe film had to be transferred to HD tapesfor a long term storage because of a of de-lay in the production schedule due to theSARS disease outbreak in China.

The final film-look was created digitally tobetter control its special tonality, which wasas essential as its subject. Unlike othercountries the digital intermediate process was rarely used before foran entire film in Japan. However, more than 10 features a year wereacquired here using HD cameras and are finally recorded onto filmwith the ARRILASER for theatrical release. Now AKAI TSUK I widelyimpressed Japanese film producers with its new approach.

Kazuhiko Endo on behalf of Tokyo Lab

Salamandra / RussiaSince July 2003, the date of ARRILASER installation, we alreadymade three movies in the Digital Intermediate process. ANTIKILLER 2,recorded out on film in September and October 2003, is a sequelof the first action gangster movie by the same name. It was made byEgor Konchalovsky, the son of the well-known Russian director Andron Konchalovsky(Tango & Cash, 1989), who pre-viously made a lot of jobs inthe film and TV field.

This movie was released in Russiaon the 174 screens an A-ratedmovie in Russia. It will be shownon TV in a serial version in thenext two months and is alreadysold to the US-market for a releasein a customized theatrical version.The film features the largest implementation of stuntmens works inRussian movies and contains extensive visual FX like 3D-dissolves,explosions, compositions and particle generation.

Following this, we finished the movie THE GODDESS using the DIpath and we are currently working on the next DI production calledFATHER .

Vadim Yashuvov, Tech Expert, Salamandra creative lab

Filming AKAI TSUKI withthe ARRIFLEX 535B

Salamandra Laser team: Maxim and Olga Razmyslova

Prasad Laser Team

20 C a m e r a

ARRIMOTION Dol ly World PremiereThe ARRIMOTION dolly, now available from ARRI rental houses and from NAC in Japan, has made

its maiden voyage in Berlin this spring. Q~bus, a communication and media production

company, used the ARRIMOTION dolly for one shoot in a series of spots for a trade show exhibit.

Cinematographer FranciscoDomingues and motion controloperator Franz Wittmann discuss the next move

One of the spots required motion control,showing a business traveler in a hotel work-ing on various telecommunication devices ina two hour period that had to be compressedinto 45 seconds. To make the shoot finan-cially feasible Q~bus decided to shoot ontheir own blue screen stage, but bringing inand shooting with a traditional motion con-trol system would have been too time con-

suming. ARRI Rental in Berlin offered theARRIMOTION system with the brand newdolly option, since it is small and quickly set up.

On the day of shooting the move was firstrecorded piece by piece. The dolly travelhad to take exactly 45 seconds, which waseasily done with the ARRIMOTION Jogbox.

Then the dolly move was played back, whilethe operator performed the pan. Then dollymove and pan were played back while thedolly column lift was added, followed by thetilt. This ability to record each axis separa-tely while others are playing back is calledmulti tracking, and with it moves can becreated that no operator could ever hope toperform live. Unique to the ARRIMOTION

21C a m e r a

Setting dolly speed is simply done with the Jogbox

system is that each playback axis can playback at a different speed, making it for instance possible to play pan and tilt backat a quarter speed while carefully opera-ting and recording focus.

Cameras operator Robert Cllen commented:The systems ability to learn moves that Iperform gave us more spontaneity and flexi-bility than on a traditional keyframe basedmotion control system. Using the ARRIHEADwith the motors attached feels just like usingit without motors. In fact, it is better since I

can set the gear ratio more precisely andwith a wider range. This was very usefulsince I had to lay on top of the dolly to oper-ate, and I set my gear ratios to be just per-fect for each axis.

After the move was recorded, first the hotelroom set including hotel furniture and bluescreen walls was shot in one clean pass with-out the actor, and then the actor was shot inthe set working in various parts of the room.Since each action performed by the actoronly happens during a small part of the move,

22 C a m e r a

Camera operator Robert Cllen dials in the move

ARRIMOTION Laptop Software

Since the ARRIMOTION system has been introduced its capabilities have

been continuously enhanced. First there was the basic ARRIMOTION

system, a small and portable motion control system for location work that

utilizes a regular ARRIHEAD and ARRI cameras.

It allows the operator to work with all the familiar tools to record and play back a movewith absolute precision. Then the ability tocontrol the ARRIMOTION system from afluid head was added, an option that waswelcomed especially in Europe where fluidheads are used more frequently. This wasfollowed by the modification option for aPanther Evolution dolly, which opened up awhole new dimension for the ARRIMOTIONsystem.

Until now the method for creating a movewas based on recording the actions of ahuman operator, storing those and then play-ing them back. Record /playback is the preferred method for a lot of location worksince it is very fast and easy, and the ARRI-MOTION system provides some tools for refining this process. It is possible, for instance,to record one axis at a time (with the optionof playing another back at a diminishedspeed) to created a layered move, or to playmoves back at different speeds. With theARRIMOTION Laptop Software, though, adifferent method of move creation and editingis available now, called keyframe editing.

Creating a move through keyframe editingconsists essentially of moving the rig (camera+ lens + dolly) to a position and storingthe rigs position. Then the rig is moved tothe next position, and that is recorded, andso on. All those positions are keyframes, andthe ARRIMOTION Laptop Software will inter-polate the in-between positions. Even thoughkeyframe editing isslower than the record /playbackmethod, it allows for more precision,and all individualparts (axis) of a movecan be edited at anytime later down toeach individual frameto refine or modifythe move. Keyframe

editing is the preferred method for miniatureand table top work.

In addition to the ability to create and editmoves based on keyframes, the ARRI-MOTION Laptop Software has all the fea-tures of the ARRIMOTION Jogbox acces-sible in a simple to use graphical user inter-face. It can perform keyframe editing on moves created by the record /playback method, thus combining the ease of record /playback with the precision editing ability of keyframe editing.

And since the ARRIMOTION system is tightlyintegrated with ARRI cameras, the creationof any imaginable type of ramp is now pos-sible. A speed/shutter, speed/iris or shutter/iris (depth of field) ramp can be combinedwith a slowing down or speeding up of anyother axis, like pan, tilt, dolly forward or re-verse or dolly up or down. This opens upcompletely new possibilities for commercials,where any time based special effect can nowbe created very easily. The ARRIMOTIONLaptop Software offer the option to automatic-ally keep the exposure constant during anysuch ramps, eliminating the need for complexcalculations.

Moves can be created and edited in an on-line mode, while connected to the rig, or inan offline mode which allows the preparationof move data in pre-production or when noton the set. The ARRIMOTION Laptop Soft-ware also allows for easy move data man-

agement, as movescan be stored, re-called, renamed andbacked-up.

only that part of the move was played back,a film and time saving ARRIMOTIONfeature called part move.

Julia Peters, the assistant director, adds: I was concerned at first since motioncontrol always takes so long and is an arduous, very technical process. But theARRIMOTION system was up and runningin no time, and when we were shooting itwent a lot faster than I expected. Whileshooting it is a lot less technical, and wecould concentrate more on the actors per-formance and the script. I want to shootnow only with ARRIMOTION!

Interestingly, the cinematographer FranciscoDomingues had investigated shooting onHD, but found that for his planned shoot-ing ratio on this project (between 1:8 and1:20) it was actually cheaper to shoot16mm. All that extra footage people tendto shoot when they have a video camerais costly in post production, and film givesthe whole shoot more focus. he explained.I also needed the ability to go high speed,and the 16 SR3HS Advanced we usedgoes up to 150 fps.

We were very pleased, since the ARRI-MOTION dolly made this shoot possiblesaid executive producer Sven Haas andwe certainly will use the dolly for similarprojects in the future.

ARRIMOTION LaptopSoftware LSW-1K2.52137.0

23C a m e r a

Updated ARRICAM DocumentationSince its introduction in 1999, the ARRICAM system has quickly become the premium choice for cinematographers

worldwide. Since then we have listened carefully to feedback from the field and analyzed the camera's

performance on a multitude of sets. As a result we have introduced numerous additions and improvements.

To increase the systems breadth and flexibil-ity we have added parts like the UniversalViewfinders, extra magazine adapters or theRemote Control Station. Based on populardemand we have introduced improved cam-era displays and wireless camera remotecontrol. And we have further extended revo-lutionary tools like the Lens Data System,adding lens information to the video assistimage and creating a smaller Lens DataDisplay.

In the past months we have updated the ARRICAM documentation accordingly, soanyone can easily navigate the extensivelist of ARRICAM components.

A short description of each ARRICAMcomponent, plus various useful overviewgraphics and tables can be found in theARRICAM System Guide, which also has abrief description of the major technologieslike Lens Data System and In-camera SlateSystem and a list of ARRICAM cables.

The ARRICAM Studio and Lite Quick Guidesoutline the most important operations likeloading magazines, threading film, chang-ing fps and shutter angle and operating thevideo assist, while the Accessory Quick Guideprovides short descriptions on how to oper-ate the most important ARRICAM accessories.

Last but not least, an exhaustive descriptionof every ARRICAM feature can be found in the updated Users Guide, which is theultimate ARRICAM reference.

All those documents can be downloaded from the ARRI web site at http://www.arri.com/entry/products.htm, then click on the DOWNLOADS link.

Ident Number:

ARRICAM System Guide K5.58314.0ARRICAM Quick Guide Studio K5.58311.0ARRICAM Quick Guide Lite K5.58312.0ARRICAM Quick Guide K5.58313.0Accessories

ARRICAM Users Guide K5.58508.0

24 C a m e r a

The ARRI Lens Data System (LDS) expands with two new entry level options that make the ARRI LDS the most

complete system on the market, providing time and money saving lens support no matter what the camera

or lens. The ARRI LDS now consist of three scalable and compatible variations: the new LDS Archive and LDS

Datamount allow the use of the vast inventory of existing lenses and cameras, while the top of the line LDS

Ultra continues to deliver more features and faster, simpler operation than any other system.

ARR I LDSfor Al l Appl icat ions

What is the Lens Data System?The ARRI Lens Data System (LDS) collects essential lens and camera information anddisplays it to the camera assistant either ona dedicated remote display or on the videoassist. This information includes focus, iris,zoom, depth of field, hyperfocal distance,close focus, fps, shutter, battery voltage, foot-age, film reserve, take length, etc. The LDScan speed up work and assist the cameracrew in the following situations:

When the camera is in a remote situation(like a crane, Steadicam, car rig, etc) all lensand camera information can be relayed tothe camera assistant either via cable or wire-lessly. This is much more reliable, preciseand convenient than witness cameras, plusprovides more information.

The Lens Data Display shows depth of fieldas a graphic and numerically. This is helpfulwhen planning a shot and gives confidencethat youve got the take, even if an actorovershot a mark. Having the precise depthof field information is particularly useful onzooms for which depth of field tables are notavailable. Because the small Lens Data Dis-play fits neatly on the back of the matte boxhood, it is naturally in the Focus Pullers eyeline.

Setting up speed/ iris ramps is quicker because the LDS automatically recognizesthe lens iris stops, saving the time normallyspent teaching stops or loading lens tables.

The film set becomes calmer. The Director,Producer, Continuity and others can see andrecord relevant information from the videoassist without the need to interrupt the camera department.

The lens information that is recorded onthe video assist tape becomes an accuratelog which can be used for second unit work,re-shoots and pick-ups.

By integrating the Cinematography Elec-tronics Cine Tape Measure, the LDS can showa readout of the measured distance in addi-tion to the focus setting. The unique FocusTracking feature zips the lens to the measureddistance simply with the push of a button.This is particularly useful in situations wherefocus is hard to judge by conventional means.

To summarize, using the ARRI LDS allows thewhole crew to work faster, more confidentlyand therefore more efficiently. Originally avail-able only with the ARRICAM system, the LensData System has been continually expandedto include other cameras (the 435 Extreme

was added recently), and now two variationshave been added that expand the system toany camera and any lens.

LDS for Any Camera with Any Lens The LDS ArchiveLens information is selected from a pre-pro-grammed list of lenses in the Lens Data Dis-play. Utilizing up to three ARRI lens motors,the Lens Data Display and a Lens Data Box(ARRICAM), 435Extreme or the new UMC-3

25C a m e r a

* LDS Archive functionality is a free software update to LDD-FP, FEM-2, Studio and Lite Lens Data Boxes(LDB and LDB-2)

Lens Motor

WirelessLens Control

System

UMC-3

Any Camera

WirelessLens Control

System

Ident Number: LDS Datamount Standard K5.52254.0

Overview of LDS Variations

Feature LDS Archive LDS Datamount LDS Ultra

Works with any camera + Works with any lens + + Depth of field display + + +Wireless Lens Data Display + + +Focus tracking + + +Simplified speed / iris ramps + + +Rapid lens change / auto lens recognition + +Lens & camera info on video assist + +Camera status displayed + +Works without lens motors +Manual follow focus supported +Price FREE* LOW REASONABLE

LDS Archive wirelessly with any camera LDS Archive wirelessly with ARRICAM or 435

Any Lens

ARRICAM StudioARRICAM Lite435 Extreme

Lens Motor

(works with any camera), all lens informationis displayed. The great advantage of the LDSArchive is that it works with any camera andany lens, wired or wirelessly, as long as lensmotors are used. However, in contrast to LDSUltra it does not support manual follow focus,camera status information and video insertion.Some time saving is lost through having toload the lens data after each lens change andhaving to calibrate the lens motors.

LDS for LDS Cameras with any Lens The LDS DatamountThe LDS Datamount allows any lens, includ-ing most zoom lenses, to work with LDS cameras. The basic setup is very simple: the PLmount of the lens is exchanged for the LDSDatamount which has an embedded minia-ture chip and LDS contacts. This gives anylens LDS functionality, including the capabi-lity to insert LDS information in the video assist,but does not permit the use of a manual follow focus as with the LDS Archive, lensmotors must be used (and time spent to cali-brate them). However, using an LDS Data-mount does preserves the ability to changelenses relatively quickly, as the camera recog-nizes the lens automatically.

LDS for LDS Cameras with LDS Lenses LDS UltraTrue LDS lenses have built-in encoders whichautomatically provide the rest of the systemwith full lens information through contacts fittedin the lens mount. This means that as soonas the lens is attached to the camera the sys-tem is ready to go. There are no cables toconnect and no motors to fit and calibrate LDS Ultra is plug and play. LDS Ultra is avail-able when using LDS Ultra Prime lenses, LDSCooke S4 lenses or LDS zooms on an LDScamera (ARRICAM Studio, ARRICAM Lite or435 Extreme). LDS Ultra also supports theCooke S4i lenses with complete plug and playfunctionality.

26 C a m e r a

And since we are not satisfied with just mak-ing the system smaller, lighter and increasingthe battery life substantially, we have addedfeatures that have been requested by manycustomers, including the ability to see theLens Data Display (LDD-FP) now wirelessly,the option of using two hand units mountedto the same main unit, improved radio trans-

mission and, if used wired with the Lens Data System and an external distancemeasurement device, automated focustracking.

Haydn Parnell, Senior ElectronicsEngineer at ARRI MEDIA in Lon-don, who has been beta testingthe new radio modems sinceSummer of 2003, reports that:In my opinion this newWLCS system is far superior

to the existing system. Ournew systems have been exten-

sively used on large feature films,for example TROY, A LEXANDER

and W I M B L E D O N . I have talkedto Focus Pullers who have workedon these productions, and they havefound that these new radio modemshave a lot less RF break-up and seem

to have a greater reliable distance ofoperation. Many of these Focus Pullers

now demand that they use this new sys-tem on all future jobs.

Here is a short run down of what is new:The heart of the system is the new WirelessMain Unit WMU-3. It accepts the hand con-trollers for focus and iris (WFU-1, WFU-3),

Taking advantage of advances in radio, battery and circuit board

technology, the ARRI Wireless Lens Control System (WLCS) has

been completely overhauled. The result are a number of new

components that make the ARRI WLCS into the smallest and most

flexible wireless lens and camera control system on the market,

while at the same time maintaining backwards compatibility with

most of the existing components.

Updated Wireless Lens Control System

The Wireless Lens Control System fully configured with LDD-FP

27C a m e r a

installed, is slightly thinner and has a differ-ent shape, so it conforms to the camera out-line when attached to the 435Extreme. Butit can of course as easily attach to the Uni-versal Motor Controller UMC-1.

Prototype attached to the FEM-2 on a 435AdvancedPlease note that the WMU-3 and URM-3 areequipped with a new type of radio modemthat is also used in the Studio and Lite LensData Box2 (LDB-2). Unfortunately, this modemis not compatible with the old radio modemin WMU-1, URM-1 and the original Studioand Lite Lens Data Boxes. It is possible, how-ever, to install the new radio modem intothose units. More information can be foundin ARRI Technical Note P-1030 New Wire-less Radio Modem in the download areaof the ARRI web site or from your local ARRI service center.

Ident Numbers:Wireless Main Unit (WMU-3) K2.52240.0Wireless Battery Unit (WBU-3) K2.52238.0Wireless Accumulator Charger K2.52266.0(WAC-3)

Wireless Expansion Bracket (WEB-3) K2.52241.0Wireless Zoom Unit (WZU-3) K2.52267.0Wireless Focus Unit (WFU-3) K2.52268.0Universal Radio Module (URM-3) K2.52262.0Wired Handgrip Attachment (WHA-3) K2.52264.0

zoom (WZU-1, WZU-3), camera remotecontrol (WRC-1), the Lens Data Display forFocus Puller (LDD-FP) and it communicateswith the camera and other Wireless MainUnits. Up to three Wireless Main Units cantalk to one camera at the same time, a use-ful feature when the assistant needs to pullfocus, the director wants to zoom and the sec-ond assistant needs to control a speed ramp.

To ensure that the contact between cameraand assistant does not get interrupted, thenew radio modem has a more robust trans-mission. In addition, the WMU-3 is half thesize and half the weight of the WMU-1, mak-ing it much easier to hold for long periods oftime. If used just with a Wireless Focus Unit,it is tiny and very comfortable in the hand,helped also by the ergonomic hand strap. Inthis configuration the new, higher capacitybattery (WBU-3) will last up to 16 hours.

Unique to the WMU-3 is the ability to acceptthe Lens Data Display for Focus Puller (LDD-FP) and to accept two control units at onceusing the Wireless Expansion Bracket (WEB-3).It is possible, for instance, to use the LensData Display for Focus Puller (LDD-FP) togetherwith a Wireless Focus Unit (WFU-1 or WFU-3). Another possible combination is theWireless Remote Control (WRC-1) with aWireless Focus Unit (WFU-1 or WFU-3).

The Wireless Zoom Unit 3 WZU-3 is used tocontrol zoom. Zoom speed can be adjustedand zoom limits can be easily set. The WZU-3is similar to the older WZU-1 except that itis lighter than the WZU-1 and the position ofzoom knob and the LENS limit controls arereversed. The reversed zoom knob is in theperfect ergonomic position for the assistantsthumb when the WZU-3 is used on WMU-3,WHA-2 or WHA-3. The WZU-1, on the otherhand, has the zoom knob in the best positionfor use with the larger WMU-1 or WMU-2.

The Wireless Focus Unit WFU-3 is used tocontrol focus and/or iris. Focus and iris canbe assigned freely to hand wheel and slider,and electronic lens and knob limits can beeasily set. In addition it is possible to set

mechanical knob limits. The WFU-3 is similarto the WFU-1 except that the WFU-3 is lighterthan the WFU-1 and the index marker of the WFU-3 can be rotated 180 for better viewing. This movable index marker is espe-cially useful when the WFU-3 is mounted onthe WMU-3, WHA-2 or WHA-3, since theresulting remote control is so small that itcan easily be swapped between the left andthe right hand and it can be held at many dif-ferent angles.

The Wired Handgrip Attachment WHA-3,just like the WHA-2, allows all hand con-trollers except the LDD-FP to be connectedwith a cable to a 435Extreme or to an ARRI-CAM Lens Data Box.

In addition the WHA-3 has a button on theleft side for focus tracking. Focus trackingbased on measured distances is availablewhen using an ARRICAM with the Lens DataDisplay for Focus Puller (LDD-FP) and a com-patible distance measuring device (currentlythe Cinematography Electronics Cine TapeMeasure).

Last but not least the Universal Radio ModuleURM-3 is a radio modem that allows thecamera to communicate with the WMU-2 orWMU-3. The URM-3 is similar to the URM-1,except that it has the new radio modem

WEB-3WBU-3 WZU-3 WFU-3WMU-3

WMU-3, WBU-3, WZU-3, WFU-3 WMU-3, WBU-3, WRC-1-2 WEB-3, WFU-3

28 D i g i t a l S y s t e m s

New technologies in the ARRISCAN

Micro-scanning and Appl icat ion Matched ParametersThe new ARRISCAN comes with some brand new technologies and methods, one of them we call Micro-scannig.

The ARRISCAN uses a custom designed CMOS area sensor, which is optimised for speed and quality.

The sensor has a basic resolution of 3K 2K pixels. With our new technique the resolution is actually, and most

of all correctly and not virtually doubled to 6K 4K pixels. Even though one could be tempted to think

that this is a blow-up process, it is NOT.

Micro-scanningThe 6K files grab the maximum resolutionout of a film frame and from this format anykind of output format can be downsampledin highest quality. To achieve the max reso-

the productivity of 1 fps@ 3K, and 2K downsampled from 3K.

Image examples of the various resolutions innative 3K mode and micro-scanning modeare available for download on our website.

Application Matched ParametersOne size fits all this might be true for somefashion articles, but in real postproductionlife the calculation is a lot different. In orderto adapt the ARRISCAN exactly to your work-flow and production needs application matched parameters can be selected accord-ingly. You are able to define the resolutionin which will be scanned and the quality thatis needed for a certain job: A 2K resolutiongenerated from a 6K file will offer best

lution, the sensor is shifted in sub pixel unitsby means of piezo actuators, and additionalsub-images are grabbed at intermediatepositions. This process is highly sophisticatedand absolutely accurate and reliable, anytime, any material.

A set of special digital image filters was designed to scale down to the conventional2K or 4K image formats. These digital filterkernels have been optimised for excellentsharpness and alias suppression at the sametime.

This high quality scannig gives a produc-tivity of 0.25 fps @ 6K, 4K down sampledfrom 6K and 2K down sampled from 6K.In native sensor mode the ARRISCAN offers

How to make a 6 K Image with a 3 K Sensor >>>

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29D i g i t a l S y s t e m s

quality but will trade off some speed (0.25 fps),whereas a 2K file generated from a 3K native sensor resolution gives you goodimage quality in a higher productivity (1 fps).

Time saving potentials are even greater. Notonly the resolution can be chosen but alsothe density range needed: If the film materialshows densities up to 1.6 above base den-sity a single exposure with the LED illumina-tion might be fully sufficient. Very dense filmstock (densities of 2 and more above basedensity) can also be handled by using amultiple exposure with the LED illumination(please also see ARRINEWS article in ARRI-NEWS issue 09/03).

Another big advantage of the ARRISCANconcept is the CMOS sensor itself. Every pixel could be addressed independently,meaning that only a portion of the sensor canbe read out for a quick view. Reading onlyparts of the sensor is of course much fasterthan reading the whole 3K by 2K native sen-sor resolution and results in a higher pro-ductivity.

Reliable CalibrationCalibration should be reliable but at the sametime intuitive and very easy to use this isan integral part of the ARRISCAN philosophy.

Starting from a base calibration the scannerlights (LED illumination) are calculated. Theoperator just needs to indicate and definewhere the base is by using a marquee. Thismethod also ensures that the light levels even on a per color basis are set to theoptimum value for the film stock in use.

If a facility is used to do a line up framecalibration (for example 18 % grey) theoperator just needs to set the marquee tothe line up frame and can then decide where the code value for this area shouldbe (for example 445).

All calibrations can be done in advance forcertain film stocks and their characteristic.By saving these calibrations the operator isable to reload the calibration settings when-ever there is the need to scan this certain kindof film stock. The result of the calibrationsettings is a reproducible image scan, whichis crucial for digital intermediate applications.

Reliable results strongly depend on reliablecomponents and the ARRISCAN compo-nents have been selected exactly to this re-quirement:

LEDs will always be electronically levelledin the way the calibration setting demands

it. The illumination is constantly monitoredto preserve a long term stability in lightquality.

The CMOS sensor is brought to workingmode by an initial machine calibration.During this procedure all components arechecked for functionality, and the CMOSsensor is brought to an ideal temperature.

The micro scanning device positions thesensor precisely to the demanded position.This position is kept rock-solid for a split second then repositioned again.

All information (including focus and baseinformation) is saved in a history database.

The ARRISCAN concept and technologiessupports the digital intermediate workflowin an unparalleled and efficient way.

ARRISCAN will be available for your production starting in June 2004.

Elfi Bernt

Please take a look at the new Digital SystemsWebsite: www.arri.de

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30 D i g i t a l S e r v i c e s

Color Management A Sneak PreviewThe already well known ARRI CMS (Color Management System) available

for the ARRILASER since 2002 is now moving straight into the field of color

grading systems. Together with our partners Barco, DaVinci, Discreet,

Iridas, Nucoda, Pandora and Quantel the out of gamut LUTs have

been shown since IBC 2003 and are part of these grading systems already.

The next step is obvious: pre-visualization Lookup Tables.

Out of gamut LUTin HD-Suite

Preview Lookup Tables inproduction environment

Logarithmic WorkflowWhen working in a logarithmic color spacefiles need to be displayed correctly on agrading monitor. Without a powerful lookuptable grading with these files is nearly impossible.

Using the ARRI preview 3D Lookup tableseliminates this problem: What you see onthe grading monitor is, how logarithmic fileswill appear when printed on film by the ARRILASER. The monitor can either be cali-brated to D55 or D65 whitepoint.

31D i g i t a l S e r v i c e s

Preview 3D LUTs work in close combinationwith the correct settings on the ARRILASERand laboratory side:

A Recorder Aim File, Negative film stockand print film stock must be set, as well as

a correct print process on Vision material(LAD 1.09, 1.06 and 1.03)

Four preview LUTs are now available Kodak Intermed 5242 Kodak Vision

2383 (LAD print) for HD monitor preview or Sony GVM monitor

Fuji Intermed Filmstock 8502 Kodak Vision 2383 (LAD print) for HD monitor preview or Sony GVM monitor

These new preview Lookup Tables will beshown at NAB 2004 together with our partners.