ARRI attends Camerimage 25
ARRI showcases its latest developments on an expanded booth space this year—plus seminars, a master class, and screenings.
In the year that ARRI celebrated its centenary, the Camerimage International Festival of Cinematography marked its quarter-century. ARRI has been a sponsor and supporter of this unique event for almost all of those 25 years, and was a strong presence at the festival again in 2017.
ARRI’s booth at Camerimage
Camera and lighting equipment was displayed on the ARRI booth, while a walk-in screening space demonstrated HDR images captured with ARRI cameras. ARRI Rental used the festival to announce new lenses for its exclusive Prime DNA series, developed in-house for the ALEXA 65 camera system.
The expanded ARRI Rental DNA lens range unveiled at Camerimage
Well over half of the films entered in the main competition were shot with ARRI cameras. The top award at the festival, the Golden Frog, went to cinematographer Máté Herbai for ON BODY AND SOUL, captured with ALEXA XT. The Silver Frog was awarded to Mikhail Krichman RGC for LOVELESS, on which he worked with ALEXA XT and ALEXA Mini cameras, as well as SkyPanel lights.
Other ALEXA feature films honored at Camerimage included SWEET COUNTRY, shot by Dylan River and Warwick Thornton, and presented with the Fipresci Award; THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, shot by Ben Davis BSC and presented with the Audience Award; and BORG MCENROE, shot by Niels Thastum and winner of the Director’s Debut Competition. This last film also utilized the ARRI UWZ 9.5-18 mm Ultra Wide Zoom.
Best Cinematography in a Music Video went to Dustin Lane for 3WW by alt-J, while Best Pilot in the First Look—TV Pilots Competition went to Christophe Nuyens SBC for BLACK SPOT: STRANGER COMES TO TOWN. Both of these projects were also captured with ALEXA.
In the documentary features competition the Golden Frog to a docudrama went to POTENTIAE, shot by Ricardo Garfias with AMIRA and directed by Javier Toscano.
Before the official award ceremony took place, ARRI hosted a Nomination Awards Dinner at the Festival. At the event, nominees for Camerimage Awards were honored by festival director Marek Żydowicz, ARRI Executive Board member Franz Kraus, and ARRI Camera Systems Managing Director Stephan Schenk. Congratulations to Ed Lachman ASC, Mikhail Krichman RGC, Ben Davis BSC, Máté Herbai, Tibor Máthé, Warwick Thornton, Dylan River, and Piotrek Sobocinski who joined us on stage!
Cinematographers Ed Lachman ASC and Tibor Máthé congratulate each other at ARRI’s Nomination Awards Dinner
A specially edited documentary was screened at ARRI’s Big Screen event, drawing on just some of the more than 200 video interviews ARRI conducted with international filmmakers in the lead-up to its centenary celebrations. This project, titled THE FILMMAKER’S VIEW, can be viewed in full here, alongside a historical timeline.
ARRI’s Stephan Schenk and Henning Rädlein on stage at ARRI’s Big Screen event
At a seminar showcasing the ARRI TRINITY camera stabilizer, Product Manager Curt Schaller was joined by camera operator Joerg Schenten SOA, BVK, who has used TRINITY on numerous professional shoots in his native Germany, including the feature films SPIELMACHER and MITTELREICH, and the TV series PASTEWKA and SANKT MAIK.
“As a professional I like to utilize the best tools out there and the TRINITY is exactly that,” says Schenten. “It allows me to move the camera in such an unrestricted and beautifully elegant way, like no other body-mounted stabilization system could do.”
ARRI’s Curt Schaller (l.) and Joerg Schenten SAO, BVK with TRINITY
A second ARRI seminar focused on the company’s International Support Program, through which producers can apply for multifaceted support ranging from co-production, development and equipment to postproduction and international sales. Both of the feature films to have been assisted by the program since its launch in 2016 were examined in the seminar: Kenyan director Wanuri Kahiu discussed her movie RAFIKI, shot by Christopher Wessels, while cinematographer Toby Oliver ACS talked about his collaboration with first-time director Fritz Böhm on WILDLING.
Director Wanuri Kahiu (l.) and cinematographer Toby Oliver ACS discuss their latest projects with ARRI’s Mandy Rahn
ARRI Academy hosted an HDR master class presented by the renowned cinematographer Karl Walter Lindenlaub ASC, whose recent work includes DRIVEN, UNDERWORLD: BLOOD WARS, REVOLT and the TV movie HOUDINI, for which he received an Emmy nomination.
“HDR is here, whether we like it or not, and needs to be understood by cinematographers,” says Lindenlaub. “The most important issue for us is to stay in control of the image across all deliverables. We should be able to decide what is visible in the highlights and what is supposed to be black. The more we learn about this new display format, the better we can take advantage of it.”
Cinematographer Karl Walter Lindenlaub ASC leading ARRI’s HDR master class
For more on Camerimage, please visit: https://camerimage.pl/en/
Weitere News >>
- ARRI beteiligt sich an volumetrischem Studio
- ARRI bietet Dateiformat ARRIRAW für AMIRA an
- Samsung nutzt ARRI ALEXA Showreels
- ARRI beim DOK.fest München
- „Wildling”-Regisseur Fritz Böhm über ARRI
- "Bigger, brighter, better": ARRI auf der NAB
- ARRIs Produkthighlights auf der NAB 2018
- Rückblick: ARRI auf der Berlinale 2018
- Morrison über „Black Panther” und „Mudbound”
- ARRI mit neuem Large-Format-Kamerasystem