Dear Readers,
It’s spring and with the excitement of this time of renewal, we’re also thrilled here at ARRI to look back at 90 years as we celebrate a very special anniversary in 2007. Right now is a good time for reflection on past accomplishments as well as an opportunity to look ahead at advancing new ideas and technologies.
Speaking of new technologies, we’re currently getting ready for one of the biggest technology showcases, the National Association of Broadcasters Conference 2007 in Las Vegas (April 14-19).
Before we head out to Vegas, we want to share some information on the new products we will be showing there if you can’t make it. We’re also including some new user stories for you to read. From low budget lighting to 3D filmmaking with the ARRIFLEX 235, ARRI has you covered.
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1. D-20 Gets Fiber Link
The link unit will enable shooting at up to 60fps with the D-20 and the Sony SRW-1 HDCAM SR recorder, or other suitable HD recorders.
http://www.arri.de/news/newsletter/articles/0407/d-20_fibre_link.html
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2. ARRIFLEX 235 Gains Speed
Now, the ARRIFLEX 235 which has been highly praised for it’s small size and light weight is even better with a speed upgrade of up to 75 fps.
http://www.arri.de/news/newsletter/articles/0407/235_gains_speed.html
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3. Master Prime Family Grows Wider and Longer
The new Master Prime 14 mm and 150 mm lenses exhibit all the features that have endeared the Master Primes to cinematographers worldwide.
http://www.arri.de/news/newsletter/articles/0407/mp_14_150.html
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4. ARRICUBE: New Technology Leverages Color Matching
Using a new measurement together with new algorithms for generating 3D LUTs, the ARRICUBE obtains superior matches between print film projection and digital display.
http://www.arri.de/news/newsletter/articles/0407/arricube.html
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5. ARRI Presents Digital Dailies Base Package for the ARRISCAN
In support of a data centric and tapeless workflow, the ARRISCAN team has developed new features to streamline the digital dailies process.
http://www.arri.de/news/newsletter/articles/0407/arriscan_package.html
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6. ARRI Expands Design and Dependability to Film & Video Accessories
ARRI accessories include all components to complete a camera package: adapter plates for studio and lightweight operation, the MB-20 and MB-20 System II modular matte boxes, and follow focus system.
http://www.arri.de/news/newsletter/articles/0407/video-accessories.html
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7. ARRIFLEX D-20 on The Company
The Company is an original six-hour limited series premiering August 2007, that was shot with the
ARRIFLEX D-20 and ARRI Master Prime lenses.
http://www.arri.de/news/newsletter/articles/0407/d-20_on_the_company.html
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8. ARRIFLEX D-20 Shoots Frito-Lay “This is History” Super Bowl Spot
Shot by Pete Biagi using two ARRIFLEX D-20s from Fletcher Chicago, the production took advantage of the fast digital workflow to deliver the Super Bowl commercial in four days.
http://www.arri.de/news/newsletter/articles/0407/super-bowl-spot.html
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9. 3D Dinosaur Hunting with the 235
Cinematographer William Reeve, CSC writes about his adventures with William White (both of the 3D Camera Company) as they develop a super flexible, lightweight 3D rig, utilizing two ARRIFLEX 235 cameras, Ultra Prime lenses and the ARRI Wireless Remote System for the IMAX© movie Dinosaurs Alive!
http://www.arri.de/news/newsletter/articles/0407/235_dinosaur_hunting.html
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10. Fassbinder Remastered
Originally shot on Regular 16 mm film for budgetary reasons, Berlin Alexanderplatz has been re-mastered to its original beauty by ARRI Film & TV. The footage was scanned on an ARRISCAN with 2K resolution, followed by touch-up and repair work as well as a new color grading.
http://www.arri.de/news/newsletter/articles/0407/fassbinder_remastered.html
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11. LWZ-1 on the Océans
When French production company Galatée Films (Himalaya, Winged Migration), prepared for principal photography of the film Océans, they purchased the brand new ARRI Lightweight Zoom and used it extensively during production.
http://www.arri.de/news/newsletter/articles/0407/lwz_oceans.html
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12. Low Budget Lighting in The Red Machine
Written and directed by Stephanie Argy and Alec Boehm, The Red Machine was shot in and around Los Angeles. With Boehm behind the camera, the filmmaking duo strived for high production values despite a low budget. ARRI came into play in the form of a versatile lighting kit, helping to illuminate the stylized look of the production.
http://www.arri.de/news/newsletter/articles/0407/low_budget_lighting.html
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13. WRS Yellow Software Upgrade
ARRI has developed a technically new communications protocol for the ARRI Wireless Remote System (WRS). As more and more wireless devices crowd the airwaves, this update will make the WRS transmission substantially more resistant to interference, especially from video transmitters.
http://www.arri.de/news/newsletter/articles/0407/wrs_update.html
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14. New 16 mm Fiber Screens
ARRI has adapted the layout of the 16 mm fiber screens to fit the 35 mm standard with a new range that includes ten S16 fiber screens.
http://www.arri.de/news/newsletter/articles/0407/16mm_fiber_screens.html
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15. ARRICAM Lite Depolarizer
The ARRICAM Lite Depolarizer is a filter that installs between body and viewfinder of the ARRICAM Lite camera. It prevents the disappearing of the image from some TFT displays when viewed through the ARRICAM Lite video assist.
http://www.arri.de/news/newsletter/articles/0407/arricam_depolarizer.html
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If you have any feedback, questions or suggestions contact:
An Tran
ARRI Newsletter Editor
Phone: + 1 818.288.0786
mailto: atran@arri.com
The ARRI Group
Headquarters Munich: Tuerkenstrasse 89,
D-80799 Muenchen, Germany.
Phone +49 (0)89 3809-0 |
