ARRI - Newsletter, November 2005

Another Year, Another NAB Success


A view of the ARRI booth at NAB
Dr. Peter Geissler, Head of Image Processing Systems for ARRI, takes a customer through the Digital Systems workflow.
Juergen Schwinzer, ARRI Inc.'s Vice President of Camera Division, looks over the new ARRIFLEX 416
The ARRIMAX, suspended by the MaxMover, illuminates the Hofbrau Haus.

The 2006 National Association of Broadcasters (NAB) convention brought over 70 ARRI employees and agents from outlets in Europe, Asia and the Americas together in Las Vegas from April 22-27. After a successful kick-off previously on Apr. 19 with the Burbank office’s Pre-NAB event, the actual convention further promoted the newest products to over 100,000 registered attendees at NAB. The trade show has been touted as the world’s largest electronic media event, covering television, motion picture studios, broadcast and cable networks, Fortune 500 companies, educational institutions and government agencies. New ARRI products included the ARRIFLEX 416, the ARRIFLEX D-20 Data Mode, updates on the ARRISCAN, Ultra 16 lenses, the Lightweight Zoom LWZ-1, the ARRIMAX 18K HMI PAR, Master Diopters, the MaxMover automated stirrup and video accessories.

During the week, two awards were bestowed upon the ARRI X Ceramic 250 and Studio Ceramic 250 lights, (despite the fact those products were introduced at last year’s NAB). Television Broadcast magazine honored the products with a Top Innovation Award for 2006. From the editors of Videography magazine, the Ceramics received a 2006 Vidy Award “for the advancement in the art and science of video technology.”

Kodak, the film stock manufacturer helped promote the new ARRIFLEX 416 camera and 16mm filmmaking along with their products. Featured at their booth was a model of the camera. Marc Shipman Mueller and Eric Johnston gave daily presentations and screened the ARRI promotional film “The Beauty of 16” in the Kodak booth theater.

On the digital systems side, Elfi Bernt gave presentations at the ARRI booth throughout the show on the digital systems workflow and new ARRISCAN advances like Digital Dailies and Kodak Digital ICE technology.

To thank customers, clients, and special attendees of NAB, ARRI held an Oktoberfest-themed party at the Hofbrau Haus on April 24. With the beer garden almost at capacity, the event gathered guests and ARRI employees together in a laid-back atmosphere outside the bustling confines of the convention center. In the courtyard of the Hofbrau Haus, the ARRIMAX was suspended high in the air from a MaxMover, lighting up the venue in the Las Vegas night.

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