American Cinematographer - June 2008 - 78

90 Years of Precision Right: The Arriflex 535B, introduced in 1992, weighs less than the 535 and has a detachable viewfinder system. Below: The 535B became a favorite of longtime Arri user Michael Ballhaus, ASC, shown on the set of The Departed with a later model, the Arricam Studio. ture production camera. The company’s contributions were further recognized in 1982 with an Academy Award of Merit (an Oscar statuette) for the concept and engineering of the first operational 35mm handheld spinning-mirror reflex-shutter motion-picture camera. Since then, Arri has garnered seven additional Sci-Tech Awards, most recently in 2006, for the Arriflex 235 camera system and the Arri WRC wireless remote lenscontrol system, and in 2002, for the Arrilaser film recorder. In 1992, Kaestner, Arri’s chief engineer from 1932 to 1982, received the Academy’s Gordon E. Sawyer Award, and in 2002, the company received special Academy and Emmy awards for its ongoing technical innovation. Arri moved into the digital age with the development of the Arrilaser film recorder in 1998; since then, it has sold more than 250 units worldwide. The company launched its first digital production camera, the Arriflex D-20, in 2003, and just introduced its latest digital camera, the D-21, at the NAB Conference in Las Vegas. In 2004, shortly after launching the D-20, Arri announced the arrival of its Arriscan film scanner; the company has delivered 100 of the units worldwide in the past three years. With a 2Kx3K sensor, the Arriscan is capable of scanning pin-registered film elements at a sampling ranging from 2K-6K and speeds of up to 1.59 frames per second; fiber-optic channels support the data flow at this rate. Despite all the current interest in digital cinematography, Arri has found that film is still the preferred origination medium. “We’re setting records selling our film cameras,” says Franz Wieser, Arri’s vice president for international marketing, who works out of the company’s New York office. “Some people thought we miscalculated when we brought out the Arriflex 416 just two years ago, but it has been a tremendous success; it has been used on such TV series as Law & Order, Friday Night Lights and Chuck. And 35mm film is still the standard in feature production. By combining the high-quality imagecapturing capabilities of film with the digital tools necessary for digital intermediates, we believe we’re helping to extend the use of film as an originating medium for many years to come.” Filmmakers outside Germany know Arri primarily as a camera and lighting manufacturer, but in fact, the company has always had a much wider focus. It operates a rental studio and film lab in Munich and also offers a state-of-the-art post facility. “Producers often use our equipment and facilities from 78 June 2008

American Cinematographer - June 2008

Table of Contents for the Digital Edition of American Cinematographer - June 2008

American Cinematographer - June 2008
Contents
Editor's Note
Short Takes: "100 Days, " Sharon Jones and the Dap-Kings
Production Slate: Mongol
Production Slate: Greensburg
Vintage Indy
A Prince in Peril
Women's World
90 Years of Precision
Post Focus: A 3-D Imax Work Flow for Wild Ocean
Post Focus: 3cP Incorporates ASC CDL on State of Play
Filmmakers' Forum: John Baily, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
In Memoriam: Gayne Rescher, ASC
Clubhouse News
ASC Close-Up: Rob McLachlan
American Cinematographer - June 2008 - American Cinematographer - June 2008
American Cinematographer - June 2008 - Cover2
American Cinematographer - June 2008 - 1
American Cinematographer - June 2008 - 2
American Cinematographer - June 2008 - Contents
American Cinematographer - June 2008 - 4
American Cinematographer - June 2008 - 5
American Cinematographer - June 2008 - 6
American Cinematographer - June 2008 - 7
American Cinematographer - June 2008 - Editor's Note
American Cinematographer - June 2008 - 9
American Cinematographer - June 2008 - Short Takes: "100 Days, " Sharon Jones and the Dap-Kings
American Cinematographer - June 2008 - 11
American Cinematographer - June 2008 - 12
American Cinematographer - June 2008 - 13
American Cinematographer - June 2008 - 14
American Cinematographer - June 2008 - 15
American Cinematographer - June 2008 - Production Slate: Greensburg
American Cinematographer - June 2008 - 17
American Cinematographer - June 2008 - 18
American Cinematographer - June 2008 - 19
American Cinematographer - June 2008 - 20
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American Cinematographer - June 2008 - 24
American Cinematographer - June 2008 - 25
American Cinematographer - June 2008 - 26
American Cinematographer - June 2008 - 27
American Cinematographer - June 2008 - Vintage Indy
American Cinematographer - June 2008 - 29
American Cinematographer - June 2008 - 30
American Cinematographer - June 2008 - 31
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American Cinematographer - June 2008 - 33
American Cinematographer - June 2008 - 34
American Cinematographer - June 2008 - 35
American Cinematographer - June 2008 - 36
American Cinematographer - June 2008 - 37
American Cinematographer - June 2008 - A Prince in Peril
American Cinematographer - June 2008 - 39
American Cinematographer - June 2008 - 40
American Cinematographer - June 2008 - 41
American Cinematographer - June 2008 - 42
American Cinematographer - June 2008 - 43
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American Cinematographer - June 2008 - 53
American Cinematographer - June 2008 - 54
American Cinematographer - June 2008 - 55
American Cinematographer - June 2008 - Women's World
American Cinematographer - June 2008 - 57
American Cinematographer - June 2008 - 58
American Cinematographer - June 2008 - 59
American Cinematographer - June 2008 - 60
American Cinematographer - June 2008 - 61
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American Cinematographer - June 2008 - 66
American Cinematographer - June 2008 - 67
American Cinematographer - June 2008 - 90 Years of Precision
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American Cinematographer - June 2008 - 79
American Cinematographer - June 2008 - 80
American Cinematographer - June 2008 - 81
American Cinematographer - June 2008 - Post Focus: 3cP Incorporates ASC CDL on State of Play
American Cinematographer - June 2008 - 83
American Cinematographer - June 2008 - 84
American Cinematographer - June 2008 - 85
American Cinematographer - June 2008 - 86
American Cinematographer - June 2008 - 87
American Cinematographer - June 2008 - 88
American Cinematographer - June 2008 - 89
American Cinematographer - June 2008 - 90
American Cinematographer - June 2008 - 91
American Cinematographer - June 2008 - Filmmakers' Forum: John Baily, ASC
American Cinematographer - June 2008 - 93
American Cinematographer - June 2008 - 94
American Cinematographer - June 2008 - 95
American Cinematographer - June 2008 - 96
American Cinematographer - June 2008 - 97
American Cinematographer - June 2008 - New Products & Services
American Cinematographer - June 2008 - 99
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American Cinematographer - June 2008 - 108
American Cinematographer - June 2008 - 109
American Cinematographer - June 2008 - International Marketplace
American Cinematographer - June 2008 - 111
American Cinematographer - June 2008 - Ad Index
American Cinematographer - June 2008 - 113
American Cinematographer - June 2008 - ASC Membership Roster
American Cinematographer - June 2008 - 115
American Cinematographer - June 2008 - In Memoriam: Gayne Rescher, ASC
American Cinematographer - June 2008 - 117
American Cinematographer - June 2008 - Clubhouse News
American Cinematographer - June 2008 - 119
American Cinematographer - June 2008 - ASC Close-Up: Rob McLachlan
American Cinematographer - June 2008 - Cover3
American Cinematographer - June 2008 - Cover4
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