ARRI - Newsletter, November 2005

New 16 mm Fiber Screens


Version for 416 or SR 3 Advanced without light meter
 
Version for 16 SR 3with light meter

Production methods for 16 mm and 35 mm film are becoming increasingly similar. That's why ARRI has adapted the layout of the 16 mm fiber screens to fit the 35 mm standard. Additionally, new formats have been introduced to the product line. The hedged area which shaded the outer field on the old fiber screens was replaced with a neutral density area. This prevents the fine lines in the outside area from interacting with the Video Assist’s CCD sensor pixel pitch to produce a Moiré effect, which looks like something a plaid jacket would produce in a TV image.

The new range of products includes ten S16 fiber screens. They are retro-actively compatible with the ARRIFLEX 16SR 3 and Advanced – that's why two N16 screens were also added to the line. The fiber screens are also available with markings for the exposure meter.

All ground glasses show the actual exposed negative image according to DIN 15602 and ISO 5768: for S16 the area is 12.35 x 7.5 mm (0.486" x 0.295"), for N16 the area is 10.3 x 7.5 mm (0.406" x 0.295") . The area outside this space is reduced in transparency to clearly define the image area that is actually being recorded onto the negative. Unwanted objects, such as microphones, can be easily recognized and kept out of the image.

The additional lines within the exposed field represents important areas such as the projected area or the area, which can be represented on all standard television sets (TV safe action area) in the various aspect ratios. According to customer demand, these lines are now solid and drawn through, while on the old screens often only the format corners were inscribed. An exception are the lines for combined formats which are extremely close to one another – for clarity’s sake, only the beginnings of these lines are marked.

More detailed information, an explanation of terms, as well as an overview of all ARRI ground glasses, fiber screens, glow masks and the respective image areas can be found on our website at: http://www.arri.de/infodown/cam/ti/format_guide.pdf

The new fiber screens are available for delivery April 2007. The old fiber screens will remain available as long as supplies last.


 
The following fiber screens are available:

Format   for 416 / SR 3 Advanced for SR 3 with light meter

S16 2.35 anamorphic projected area K2.65111.0                  K2.47782.0

S16 1.33 TV transmitted/
1.33 TV safe action
K2.65112.0                  K2.47783.0

S16 1.66 projected area K2.65113.0 K2.47784.0

S16 1.78 TV transmitted K2.65114.0 K2.47785.0

S16 1.78 TV transmitted/
1.33 TV safe action
K2.65115.0 K2.47786.0

S16 1.78 TV transmitted/
1.55 TV safe action/
1.33 TV safe action/
CGG
K2.65116.0                  K2.47787.0

               S16 1.78 scanned area/
1.78 TV safe action/
1.33 TV safe action   
K2.65117.0                  K2.47788.0

S16 1.85 projected area K2.65110.0                  K2.47781.0

S16 1.85 projected area/
1.33 TV safe action
K2.65118.0 K2.47789.0

S16 2.35 projected area K2.65119.0 K2.47790.0

N16 1.33 TV transmitted K2.65120.0 K2.47791.0

N16 1.33 TV transmitted/
1.33 TV safe action
K2.65121.0 K2.47792.0

 

Newsletter 20 - 04/2007


ARRI AROUND THE WEB
A selection of links around the Internet featuring ARRI.

1. Samy's HD Expo & HD Seminar, April 28 in Los Angeles
ARRI’s John Gresch will instruct a workshop on HD Lighting with the latest compact power efficient lighting kits.
Goto article. Launch link

2. Giving 300 Movie a Comic-Book Grandeur
Reporter Sheigh Crabtree writes about the fast-paced cinematic painting of 300, a $60-million live-action adaptation of Frank Miller and Lynn Varley's 1999 graphic novel. In a dazzling battle sequence, DP Larry Fong used a camera technique known as a "lens morph" or a "nested zoom" with three ARRIFLEX cameras.           
Goto article. Launch link

3. What To Look for on the Show Floor
Playback approached three regular attendees to see what they are most looking forward to from this year's exhibitors. Cinematographer and president of Vancouver post houses, James Tocher is curious about ARRI’s offerings.
Goto article. Launch link

4. Friday Night Lights
Friday Night Lights is a TV series based on the successful 2004 feature film of the same name shot with ARRI SR cameras. When discussing the right visual aesthetic for the series, DP David Boyd, writer/producer Peter Berg and their collaborators envisioned a documentary realism.
Goto article. Launch link