ARRIFLEX 416 and ARRIMAX 18/12 Win cinec Awards
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| The happy ARRI team, from left to right, top row: Walter Trauninger, Head of Business Unit Camera, Franz Kraus, Managing Director, Marc Shipman-Mueller, Product Manager Film Cameras & Lenses, Timo Müller, Product Manager Location Lighting, Wilhelm Schuster, Head of Business Unit Lighting. From left to right, bottom row: Klemens Kehrer, 416 Project Manager, Erwin Melzner, Head of Lighting R & D. |
Sunday, 17th of September 2006 - ARRI received two cinec awards in the categories of Camera Technology and Lighting Engineering for outstanding and innovative engineering.
The new Super 16 film camera ARRIFLEX416 and the innovative ARRIMAX 18/12 received an award each at a ceremony in the historic Munich Chamber of Commerce by a panel of international experts. Professor Slansky, head of the jury, commented in his introductory speech on how difficult it was "to give so few awards, since there are so many excellent ideas, technologies and products we have seen here." This resonated well with everyone present in the Chamber of Commerce, since this 2006 cinec trade show has been one of the busiest ever with many professionals crowding the halls to get a peek at many new products.
The ARRIFLEX 416 is a modern Super 16 mm film camera that was praised by Hans Hansson, who presented the award in the Camera Technology category, for being completely silent, lightweight, ergonomic and equipped with a beautiful, bright viewfinder.
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Walter Trauninger, ARRI's Head of the Business Unit Camera
Photo: Courtesy of Professional Production Magazine |
Walter Trauninger, Head of ARRI's Business Unit Camera, noted in his acceptance speech that "some years ago we had thought we would never build another 16 mm camera, but then the market showed us that 16 mm was a healthy and thriving format, and so we developed the 416 in record time." He continued: "From the Focus Groups conducted by Marc Shipman-Mueller, which defined the camera's features, through the design phase led by Project Manager Klemens Kehrer until now, it will have been less than two years! This was only possible through the dedication and hard work of all on the 416 team, and I want to thank them. Thanks is also due to our Managing Director Franz Kraus, who had the courage to get such a project on the way."
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Wilhelm Schuster, ARRI's Head of the Business Unit Lighting
Photo: Courtesy of Professional Production Magazine |
The ARRIMAX 18/12 is combining the smooth light field of a Fresnel spot light with the performance of a parabolic reflector system without the need of spread lenses. The new design of the ARRIMAX reflector utilizes a multi-faceted structure for stepless focus. Equipped with a new 18,000W single ended daylight discharge lamp, the ARRIMAX 18/12 provides an outstanding performance for all lighting applications. Wilhelm Schuster, Head of ARRI's Business Unit Lighting, said that "ARRI Lighting is particularly proud of this award because we think the ARRIMAX with its lens-less design sets a milestone in the area of large daylight fixtures. Thanks to all on the ARRIMAX team for making this possible."
The Cinec 2006 Award Jury
- Prof. Peter C. Slansky, Germany
- Stefan Bastian, Germany
- Alan Bermingham, Great Britain
- Louis-Philippe Capelle, Belgium
- Peter Claridge, Germany
- Hans Hansson, Sweden
Timo Müller & Marc Shipman-Mueller
Visit the ARRIFLEX 416 Product Page for more information. |
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Newsletter 19 - 12/2006
ARRI AROUND THE WEB
A selection of links around the Internet featuring ARRI.
1. High Stakes for 007
Casino Royale, shot by Phil Méheux, BSC, on ARRICAM Studios, ARRICAM Lites, ARRI 435 and 235s, attempts to refashion the James Bond franchise for a new generation of viewers.
Launch link
Visit the ARRICAM Product Page
2. A 65mm Demo Reel
On Nov. 8, the ASC and the UCLA School of Theater, Film and Television opened the doors of the UCLA James Bridges Theatre to showcase imagery photographed by Kees Van Oostrum, ASC, who recently directed and shot George Washington, which is showing at the Mount Vernon Visitors Center and Bill Bennett, ASC, who directed and shot a test for ARRI.
Launch link
3. Behind the scenes with Tom Del Ruth on Studio 60
The pilot episode of Studio 60 on the Sunset Strip was shot in Super 16 format as a concession to the budget. Del Ruth worked with a modest palette, including a couple of ARRI SR3 cameras mounted with Zeiss prime and zoom lenses, and KODAK VISION2 500T 7218 film.
Launch link |