American Cinematographer - September 2017 - 99

directed and shot (AC April '08). "I shot
that movie over the course of 20 years
using my original SRII. When I finally
sold that camera in the late 1990s, I
went back and finished the film with a
rented Arri SRIII."
Owen Roizman, ASC recalls
opting for an Arriflex IIC camera to
shoot most of The French Connection, a
project that earned him the first of his
five Academy Award nominations. He
says that camera "was a natural choice,
since we knew we would be doing lots of
handheld work on that movie, and the
Arriflex camera was great for using a
wide lens handheld. I loved that camera
- it was one of the best cameras ever
made. I could lift it up, hold it, put it
against my chest, and walk around with
it. It just fit naturally, and it was really
easy to use handheld with a 200-foot or
400-foot magazine on it."
For the film's famous chase
sequence, Roizman recounts, "We had
three cameras mounted on the car -
and then when we were out of the car,
shooting toward it, we used the Arriflex
on tripods and dollies, and whatever else
I could get my hands on. We shot
usually 20 or 21 frames [per second] to
take the edge off the normal speed, to
make it seem that things were going just
a little bit faster."
Such anecdotes from veteran
cinematographers about Arri's classic
film cameras abound. Although the
company stopped manufacturing
Arriflex film cameras in 2010, it continues to service them across the industry
for projects that opt for film acquisition.
As digital cameras emerged as a
dominant force, a strategic plan was
already in development at Arri's longtime Munich headquarters to pursue
digital-imaging technology. Indeed,
Bahnemann remembers introducing his
successor, fellow ASC associate member
Glenn Kennel, on Bahnemann's last day
at Arri's helm, at a presentation at the
Directors Guild Theater in Los Angeles
- and, as his last formal duty, presenting the Alexa camera to the industry.
Work to make that moment
possible began when Arri decided to

On the set of The
French Connection,
Owen Roizman, ASC
lines up a shot with a
handheld Arriflex
while director William
Friedkin looks on
(top); one camera is
mounted behind
actor Gene Hackman
to film an over-theshoulder shot while a
second camera is
rigged on the
passenger seat to
photograph a profile
close-up (middle); and
Roizman operates a
handheld Arriflex for
a shot of Roy
Scheider (bottom).

www.ascmag.com

September 2017

99



http://www.ascmag.com

American Cinematographer - September 2017

Table of Contents for the Digital Edition of American Cinematographer - September 2017

Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
American Cinematographer - September 2017 - 5
American Cinematographer - September 2017 - 6
American Cinematographer - September 2017 - 7
American Cinematographer - September 2017 - 8
American Cinematographer - September 2017 - 9
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American Cinematographer - September 2017 - 11
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American Cinematographer - September 2017 - 14
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American Cinematographer - September 2017 - 18
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American Cinematographer - September 2017 - 22
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American Cinematographer - September 2017 - 25
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American Cinematographer - September 2017 - 27
American Cinematographer - September 2017 - 28
American Cinematographer - September 2017 - 29
American Cinematographer - September 2017 - 30
American Cinematographer - September 2017 - 31
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American Cinematographer - September 2017 - 33
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American Cinematographer - September 2017 - 38
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American Cinematographer - September 2017 - Cover3
American Cinematographer - September 2017 - Cover4
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