Date/ Issue
Issue 14 11/2012 ALEXA MEETS BOND: Roger Deakins, ASC, BSC, on shooting the latest Bond / CLOUD ATLAS: The Wachowskis and Tom Tykwer discuss their epic science fiction film / A PRODUCERS PERSPECTIVE: Stefan Arndt discusses producing CLOUD ATLAS and working with ARRI / DREAMING THE DREAM: Danny Cohen, BSC, talks about filming the big screen adaptation of Les Misérables / A NEW ERA FOR ANAMORPHIC: New ARRI/ZEISS Master Anamorphic lenses / RUBINOT: ARRI creates VFX for screen adaptation of popular teen fantasy novel / ALEXA: LATEST NEWS Software Update Packet (SUP) 7.0 /  THE SMALLEST BIGGEST LIGHT ON SET - ARRI M90/60: a new fixture with MAX Technology / THE BLETCHLEY CIRCLE: John Pardue sets the tone for a period crime drama with ALEXA / MOVING IMAGES IN THREE-DIMENSIONAL SPACE ARRI Commercial and partner lucie_p on creating moving images for the world of brand communication / INNOCENCE Low-budget vampire feature adopts on-set system to deliver same-day dailies / BRIGHTER COOLER SMALLER: Latest additions to the LED-based L-Series / GO WIRELESS: New Wireless Remote System components
 
Issue 13 06/2012 MEN IN BLACK 3: Bill Pope, ASC, reflects on shooting MEN IN BLACK 3 with film and digital / ALEXA PLUS 4:3 FOR ANAMORPHIC / GUARDIANS: Adrian Cranage discusses working with the ALEXA & ALEXA M on Til Schweiger’s action drama / Two new lightweight zooms extend the ALURA ZOOM family / ARRI VFX create big screen effects for primetime TV dramas / DOWNTON ABBEY: Nigel Willoughby, BSC, on taking season three with ALEXA / ARRI Film & TV carry out extensive VFX work on SAMS IM GLÜCK / Latest ALEXA DEVELOPMENTS AND SOFTWARE updates to come in 2012 / ARRI Film & TV: on-set workflow and postproduction for a historical portraitof King Lugwig II in ARRIRAW / ARRI web applications provide information via iPads, iPhones and other mobile devices / ARRI Film & TV’s Martin Schwertführer talks about the future direction of the ARRI LAB
 
Issue 12 12/2011 Charles Minskyon on shooting NEW YEAR’S EVE / Paul W. S. Anderson and GlenMacPherson about THE THREE MUSKETEERS / ALEXA DEVELOPMENTS: 120 fps high speed and ARRI Look Files / Gavin Finney chronicles the adventures of SINBAD / 2-perforation delivers the desired look for TOM SAWYER / Stereo 3D productions for WICKIE AND THE TREASURE OF THE GODS / The ALEXA range expands / THE JURY: Tim Fleming reflects on shooting drama series / ARRI Commercial forms new partnership with design agency lucie_p /ARRI introduces the lens-less M40/25 / Denis Crossan discusses medieval miniseries WORLD WITHOUT END / Hagen Bogdanski talks about Madonna’s second feature film W.E. / ARRI’s rental and postproduction teams establish DIGITAL SERVICES division to provide on-set support / Josef Reidinger, ARRI Film & TV’s Managing Director, discusses the future direction of ARRI’s postproduction services / THE PERFECT PORTRAIT LENSA new focal length extends the Master Prime set / New ARRI/FUJINON zooms
 
Issue 11 07/2011 Benoit Delhomme discusses working on adaptation of the romantic bestseller ONE DAY / Anna Foerster on shooting Roland Emmerich's AnonymouS / The ARRI ALEXA range expands / THE INBETWEENERS Movie shoots with the ARRI ALEXA / ARRI Film & TV add State-of-the-Art 3D GRADING SUITE / STORAGE SOLUTIONS for the post of tomorrow - Film & TV expand their internal storage for handling multiple 3D projects / ARRI Media Worldsales acquire the world distribution rights to PORFIRIO - Interview with director Alejandro Landes / Tom Townend about shooting sci-fi comedy Attack the Block / Uncompromised image quality from the ALEXA CMOS sensor / A new generation of LED-based Fresnel lights: ARRI L-SERIES / BEL AMI: Stefano Falivene discusses the feature debut of renowned theatre directors Declan Donnellan and Nick Ormerod / The latest developments to the ARRI ALEXAcamera system / ALEXA web tools
 
Issue 10 12/2010 DoP Rodrigo Prieto on WALL STREET: MONEY NEVER SLEEPS / ARRI unveils a bold new concept in LED lighting / ARRI Rental and Film & TV support 3D shooting WICKIE AND THE TREASURE OF THE GODS / WICKIE on-set interview / ALEXA makes low light KYLIE PROMO possible / MICROSOFT 3D with ARRI Commercial / The new OPEL MERIVA in S3D / David Katznelson disusses using the D-21 to shoot DONWTOWN ABBEY / ALMANYA, a journey trough Turkish-German history with digital colors and effects / Updates and accessories for the ARRI ALEXA / THREE – ARRI Film & TV posts Tom Tykwer’s latest feature in 4K / KIDNAP and RANSOM, Mike Spragg chose the D-21 for ITV’s hostage drama / ARRI Rental Munich supplies the lighting for OBERAMMERGAU / New ARRILITE LIGHTING Fixtures / ARRI Webgate / American feature CONVICTION post at Film & TV / ARRI-ZEISS Master Prime 12 / Flight Head XL: gyro-stabilized partner for 3D rigs
 
Issue 09 08/2010 DoP Anthony Dod Mantle on THE EAGLE OF THE NINTH /  Remi Adefarasin discusses THE PACIFIC / Director Zülfü Livaneli about VEDA – BIDDING FAREWELL TO ATATÜRK / Philipp Blaubach on shooting THE DISAPPEARANCE with the D-21 / ARRI Film & TV save Fassbinder’s WORLD ON A WIRE / A look at ARRI Film & TV Services BERLIN / Round-up of the latest news on ALEXA / ALEXA TEST SHOOTS / Behind the scenes of a new spot for the Audi R8 Spyder / MAHLER AUF DER COUCH: ARRI Film & TV discuss the challenges of posting a feature shot with the Red One /  The making of CITY OF LIFE, the first UAE feature / ARRI Rental opens a new branch in BUDAPEST / Canon EOS 7D PL / Moviecam EasyFocus
 
Issue 08 12/2009 DoP Russell Carpenter on KILLERS / ARRI Film & TV’s work on INGLORIOUS BASTERDS / Profile on ARRI Film & TV’s in-house Producer Christopher Berg / How ARRI CSC and the camera crew of THE LAST AIRBENDER prepared for Greenland / DoP Ackroyd on GREEN ZONE / Interview with director Anno Saul about THE DOOR / DoP Gavin Finney on GOING POSTAL / Postproduction on DESERT FLOWER / Nigel Willoughby on THE RED DAHLIA / The new ARRI DIGITAL CAMERA SYSTEM / Visual Effects on POPE  JOAN / DoP Greig Fraser on BRIGHT STAR / Sound mix for PANDORUM / D-21 shoots 3D in Dubai / The services of ARRI Commercial / Interview with Harald Schernthaner about the current state of DI / Hi-Motion / ARRI Relativity / New ARRI Film & TV facility in Cologne / LED-based products / ARRI M18 & ARRISUN 18 / Master Macro 100 / High Definition Video Assis
 
Issue 08 08/2009 MR. PIXEL & MRS. GRAIN Was ist besser, analoger Film oder digitale Aufzeichnung? / LIPPELS TRAUM Die VFX-Spezialisten von ARRI Digital sorgen für die märchenhaftesten Momente / CHRISTIAN WIESER Neuer ARRI Visual Effects Supervisor / MARTIN SCHWERTFÜHRER Neuer Leiter des ARRI Kopierwerks / RAINER KLAUSMANN Ein Gespräch mit dem Schweizer Kamera-Star über die Kunst Geschichten zu erzählen / ARRI DI ABTEILUNG Lead Colorists Traudl Nicholson und Rainer Schmidt über die Neustrukturierung / DIE TÜR Im Kinofilm von Regisseur Anno Saul ringt Mads Mikkelsen mit seiner Vergangenheit / HENRI 4 Regisseur Dr. Jo Baier setzt auf die Qualitäten der ARRIFLEX D-21 / DIE FREMDE Regisseurin Feo Aladag realisiert einen Film über die Sehnsucht einer Frau nach Selbstbestimmung / ARRI COMMERCIAL Der kreative Herzschlag für die Welt der Werbung / ARRI SOUND Deutscher Filmpreis / ARRI FILM & TV IN KÖLN Markus Klaff ist Leiter des neuen Standorts
 
Issue 07 12/2008 Director Marc Forster and DoP Roberto Schaefer on QUANTUM OF SOLACE / 416 and Kylie Minogue / Postproduction on DER BAADER MEINHOF KOMPLEX / D-21 production round-up / DoP Hagen Bogdanski on THE YOUNG VICTORIA / Postproduction on DIE PERLMUTTERFARBE / D-21 and Mscope / Lighting THE DUCHESS / Lighting the MTV Video Music Awards / NINJA ASSASSIN in Berlin / Kia commercial in Dubai / Historic Hovis commercial / Postproduction on THE COUNTESS / Interview with director Julie Delpy / DoP Frank Griebe on THE INTERNATIONAL / Postproduction on AL MAHED / Hi-Motion at the Olympics / New Head of VFX at ARRI / Producing SHARPE’S PERIL / Moments in time: LOUISIANA STORY
 
Issue 6 06/2008 Director Andrew Adamson and DoP Karl Walter Lindenlaub on PRINCE CASPIAN / Postproduction on ANONYMA – EINE FRAU IN BERLIN / DoP Sean Bobbitt on HUNGER / DoP Jon Joffin on the D-21 and CRUSOE / Interview with DoP Jules van den Steenhoven / Lighting THE OTHER BOLEYN GIRL / ARRI Film & TV recreates the fall of the Berlin Wall / The ARRIFLEX D-21 / DI on CHARLESTON & VENDETTA / Filmquip Media in the UAE / DoP John Pardue on FREQUENTLY ASKED QUESTIONS ABOUT TIME TRAVEL / ARRI TRUE BLUE / ARRI Film & TV: show case / Lighting AMERICAN GLADIATORS / D-21 and Data Mode / Film preservation techniques / ARRIFLEX 416 Plus HS / New Ultra 16 focal lengths / Hi-Motion / Digital grading on Baselight HD / Moments in time: CLOSELY OBSERVED TRAINS
 
Issue 5 10/2007 DoP Oliver Wood on THE BOURNE ULTIMATUM / ARRI Film & TV create 3D commercial / DoP Roberto Schaefer on THE KITE RUNNER / DoP Peter Suschitzky on EASTERN PROMISES / Behind the scenes of a Mazda commercial / D-20 on TIN MAN / D-20 update / postproduction on SHADOWS / ARRI Australia supply EAST OF EVERYTHING / Director Wayne Wang on A THOUSAND YEARS OF GOOD PRAYERS / D-20 on Sony commercial / DoP Rob Hardy on the 416 and BOY A / Director Sergei Bodrov on MONGOL / COPACABANA combines film and digital technologies / Promising director supported by ARRI / SIDE EFFECT: short film show case / 90 years of ARRI / 25 years of ARRI Film & TV / ARRI Schwarzfilm Berlin upgrades facilities / Moments in time: THE MAN FROM U.N.C.L.E. / Panalight in Romania
 
Issue 04 06/2007 DoP Baz Irvine on MR BEAN’S HOLIDAY / ARRI Film & TV restore BERLIN ALEXANDERPLATZ / The Rolling Stones on film / Director Volker Schlöndorff and DoP Tom Fährmann on the DI of ULZHAN / D-20 on THE COMPANY / Postproduction on HERR BELLO / DoP Barry Ackroyd on BATTLE IN SEATTLE / A NEUTRAL CORNER: DI case study / ARRI Film & TV renders McDonald’s viral ad / JPEG2000 and digital cinema / D-20 on PRISONERS OF THE SUN / Act: Russia’s leading equipment rental company / Orange shoots new ad campaign in South Africa / ARRI Film & TV creates arctic landscape for candy ad / D-20 on SILENT WITNESS / Moments in time: ONCE UPON A TIME IN THE WEST / 2 perforation
 
Issue 03 12/2006 Director Tom Tykwer & DoP Frank Griebe on PERFUME / DoP Gavin Finney on HOGFATHER and the D-20 / First 416 productions / First Ultra 16 productions / DoP Daniel Gottschalk on a DI for TRADE / Postproduction on PERFUME / Sony paints the town for commercial / DoP Alwin Kuchler on SUNSHINE / ARRI and digital cinema / Location vehicles in the US / ARRI Film & TV recreate 70s icon / 360° projection from ARRI Film & TV / Moments in time: DARK PASSAGE / CINEMATOGRAPHY STYLE screens at AMPAS
 
Issue 02 06/2006 DoP Salvatore Totino on THE DA VINCI CODE / DI for THE CLOUD / V FOR VENDETTA lights up London / The power of 416 / The art of Ultra 16 / Digital or analogue? / DoP Anil Mehta on KANK / Lighting DARK STREETS / Postproduction on DRESDEN / Latest on the D-20 / Media Film Service in South Africa / The Master Zoom / Formula One at ARRI Film & TV / Moments in time: DAS BOOT / Tibor Sands: a life in focus
 
Issue 01 12/2005 DoP Andrew Lesnie on KING KONG / Worldwide activities of the D-20 / Moving lights at Illumination Dynamics / DI and the new Lustre grading suite at ARRI Film & TV / Master Primes on PERFUME / BLEAK HOUSE: Dickens on HD / Moments in time: ACROSS 110th STREET / ROBBER HOTZENPLOTZ: the creation of a German fairytale / ARRIMAX: the most powerful HMI on the planet / Turkish film production uses ARRI’s ‘one-stop-shop’ / DoP August Jakobsson on the Master Primes