ARRI - Newsletter, November 2005

Bauhaus – Broken Wings Takes Flight Through The ARRI 35mm Project


 

On May 3, the student film Bauhaus – Broken Wings premiered at The Academy of Television Arts & Sciences in North Hollywood as part of California State University, Northridge’s (CSUN) 16th Annual Student Film Showcase. Directed by Philipp Eireund, the film was the inaugural production of The ARRI 35mm Project, a program which provides a 35mm motion picture experience to a selected CSUN Department of Cinema and Television Arts senior film each semester. ARRI Inc. provided an ARRICAM, lighting was supplied by Illumination Dynamics, Fotokem processed the film and J.L. Fisher offered a dolly for the shoot. As a CSUN alumnus and ARRI Vice President of Western Operations, Bill Russell was instrumental in the development of this program.

“We wanted to give students an opportunity to shoot on 35mm as a ticket into the industry,” says Russell. “We’re toolmakers. We make tools for people to bring their ideas to screen.”

Based on true events, Bauhaus – Broken Wings runs just over 22 minutes and follows a group of students at the Bauhaus School for Arts and Architecture as they attempt to save their art from the rise of the Nazi Party. Led by a sculptor named Jack Porter, the students face the decision of whether to stand up for their artistic expression or give way to the forces of Fascism. Kenton D. Johnson served as cinematographer on the film.

 

Students in the film program also took part in an intensive lighting and camera workshop with ARRI staff. Technical Services Manager Stephan Ukas-Bradley talked about the ARRIFLEX 235 while students had the chance to look through its viewfinder and feel the small camera on their shoulders. Maria Carpenter of Illumination Dynamics gave advice on lighting rentals and insurance. John Gresch, VP of ARRI Lighting explained the different types of lights along with lighting configurations for different camera set ups and the importance of a shot list.

The students were also treated to hands-on demonstrations outside the classroom, with lighting setups in the university’s botanical garden. Ron Sill (Lighting Sales and Customer Service) and Mike Jones (Technical Sales Representative, Lighting Division) took the students through safety issues, troubleshooting tips, artistic and technical choices involved with lighting a film. 

The Dept. of Cinema and Television Arts at CSUN provides students with academic and professional training for careers in the entertainment and educational/corporate media fields. The major prepares students for creative and management careers in commercials or public radio, television, film and multimedia positions as well as related scholarly areas.

An Tran

 

Newsletter 17 - 06/2006



Goto article. First 416 Production


Goto article. Another Year, Another NAB Success


Goto article. The Hi-Motion Speeds into the UK
Goto article. Shooting Built To Spill’s “Conventional Wisdom”

Goto article. Bauhaus – Broken Wings Takes Flight Through The ARRI 35mm Project

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

1. Harsh Times: Creative Filming on a Meager Budget
Harsh Times revolves around two characters: Jim David (Christian Bale), an ex-United States Army Ranger who comes home from the war in Iraq, and his boyhood pal Mike Alvarez (Freddy Rodriguez). Cinematographer Steve Mason, ACS Mason talks to In Camera Magazine about shooting with two ARRI SR3s in Super 16mm format as a way to trim costs without compromising production values.
Goto article. Launch link

2. Secret History
The Da Vinci Code, shot by Salvatore Totino, brings a worldwide best-seller to the big screen. Totino talks to American Cinematographer about the big budget film shot with ARRI cameras and outputted via the ARRILASER film recorder.
Goto article. Launch link

3. The Return of 16
New emulsions and deft DI's have fueled new interest in 16mm. Expect even more with Arri's introduction of the new 416 camera. Studio Daily ’s cameras are on hand as ARRI and Avid product managers take you through the 16mm workflow.
Goto article. Launch link

4. ROI: The Grid
Sweating under the lights is a cliche of TV studio production. At least, that's the way it used to be until ARRI introduced its 250-watt Studio Ceramic 250 and X Ceramic 250, both of which can be deployed for overhead or portable lighting. Writer James Careless profiles for TV Broadcast magazine.
Goto article. Launch link

5. Arriflex 416, First Look
From Cinematographer.com, writer Tim Carroll got a chance to play with the Arriflex 416 at NAB and talk with Klemens Kehrer, the 416's design engineer and Marc Shipman-Mueller, its product manager. Here's what he found out.
Goto article. Launch link