ARRI - Newsletter, November 2005

ARRIFLEX  D-20 Shoots Frito-Lay “This is History” Super Bowl Spot


Director Scott Smith (left) and DP Pete Biagi review images on Cinetal 4:4:4 monitor

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. Chicago-based agency Element79 was challenged with the task to bring the inspirational commercial that acknowledged the groundbreaking game between two African American head coaches, Tony Dungy and Lovie Smith.

To view frame grabs from the production, click here: http://www.fletch.com/arrid20sb.html

“This is History,” directed by Scott Smith was shot for client Frito-Lay and was also Element79’s first time shooting with HD cameras. By using the ARRIFLEX D-20, the digital footage was brought directly into the edit bay, saving a lot of time that the production had little to spare.

 

Click here to view “This is History.”

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.
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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