ARRI WORKSHOPS

 

 

 

ARRI BIG SCREEN EXPERIENCE: BEYOND TODAY’S STANDARDS

Festival Center - Opera Nova, Main Screening Room

Wednesday, 19th Nov, 17:45 

Capture with ARRI Cameras and Lenses, Deliver Anything. Join ARRI for an exciting, fast-paced tour of the amazing variety of production types, distribution formats and deliverables that can be accommodated when shooting with the ALEXA and AMIRA camera systems. See for yourself as ARRI show reels demonstrate how high dynamic range and superior pixel quality truly enhance your viewing experience. Witness the exceptional quality of images captured with ARRI/ZEISS Master Anamorphic lenses and the super-wide cinematography made possible by the Ultra Wide Zoom.

Hear From the Professionals. Listen to renowned cinematographers Phedon Papamichael, ASC; Stijn Van der Veken, ASC, SBC; Neil Harvey and Johann Perry as they share their views and discuss their creative experiences.

Seeing More in Monochrome: Black-and-White with Infrared. Experience the rich black-and-white images of ARRI Rental’s ALEXA XT B+W, as well as the camera’s ability to capture in amazing infrared.

65 mm Reborn: Digital, Like You’ve Never Seen it Before. Discover how ARRI Rental’s ALEXA 65 system, with a sensor larger than a 5-perf 65 mm fi lm frame, is able to capture an uncompressed ARRIRAW 65 mm image of staggering definition, while maintaining the ALEXA’s famous dynamic range and colorimetry.

 

 

 

ARRI / OSRAM WORKSHOP supported by Codex

Blocking, Lighting and Shooting a Scene led by Phedon Papamichael. Simple techniques for on-set lighting and camerawork

Workshops Centre - University of Economy (WSG), Building M

Thursday, 20th Nov, 11:30 

Born in Athens and brought up in Munich, cinematographer Phedon Papamichael, ASC, moved to America in the 1980s as a photojournalist and began his career in movies by shooting seven features for Roger Corman in just two years. Subsequent credits include Wim Wenders’ The Million Dollar Hotel, Gore Verbinski’s The Weatherman, and the James Mangold films 3:10 to Yuma and Walk the Line, which won Papamichael the President’s Award at Camerimage.

The 2004 film Sideways marked the beginning of a fruitful collaboration with director Alexander Payne, further cemented on The Descendants and Nebraska, which was shot in black-and-white with ALEXA and earned Papamichael an Oscar® nomination and the BSC Best Cinematography Award, as well as nominations for an ASC Award, a BAFTA and the Golden Frog at Camerimage. For George Clooney he has shot The Ides of March and The Monuments Men.

Papamichael comments: “In the workshop we’ll cover different approaches to lighting and camerawork, utilizing simple tools and classic techniques. Shooting with the ALEXA means we’ll be able to make lighting decisions as we go along, working from the monitor image and taking advantage of the camera’s dynamic range and sensitivity by eliminating fi ll light until we arrive at the right look for the scene.”

 

 

 

ARRI WORKSHOP

From the Page to the Screen with Stijn Van der Veken, ASC, SBC

The choices and challenges of turning script ideas into images

Workshops Centre - University of Economy (WSG), Building M

Thursday, 20th Nov, 15:30 

Born and raised in Belgium, Stijn Van der Veken, ASC, SBC, graduated from the film school of IAD and began his career as a camera assistant. He soon moved into the role of cinematographer, shooting documentaries for Belgian television such as Shadow of the Cross and Salmon for Corleone. In addition, he shot several drama series, including Katarakt, Emperor of Taste, Wolven, Vermist and Quiz Me Quick. Feature film credits include Zot Van A, Wolf , Maria Dolores, SM Rechter and Alles voor Lena.

The short film Death of a Shadow garnered Stijn acclaim for his cinematography; it was shortlisted for the Oscar® nominations for Best Short and earned a nomination in the same category at the European Film Awards. Another short, Murk Light, won him the Black Pearl prize for Best Cinematography at the Abu Dhabi International Film Festival. Stijn has recently been working on the television series In Flanders Fields with director Jan Matthys, with whom he is a frequent collaborator.

“One of the most interesting aspects of cinematography is the different approaches you can take to transforming words on paper into images on the screen,” says Stijn. “In this workshop we’ll explore the challenge of carrying ideas and characters from one medium to another, while also looking at how equipment choices – such as anamorphic vs. spherical lenses – are really about selecting the right story-telling tools for each project.”

 

 

ARRI WORKSHOP

AMIRA and Techniques for Documentary Filmmaking with Johann Perry and Neil Harvey

Responsive camerawork and working with available light

Workshops Centre - University of Economy (WSG), Building M

Friday, 21st Nov, 11:30

Cinematographer Johann Perry has filmed music videos, dramas and commercials, but his main focus is documentaries. From arts, science, history and fly-on-the-wall programs to docudramas, he is proud to be a part of Britain’s long tradition in quality documentary-making and has worked with award-winning filmmakers such as Vanessa Engle, Leo Regan, Sam Hobkinson and Ben Anthony.

Neil Harvey is a BAFTA-nominated cinematographer who has shot prestigious documentaries as well as acclaimed one-off dramas. He has worked with stars such as Lisa Kudrow, George Michael and Meg Ryan, but has also been on productions that involved accompanying British and US forces when they invaded Iraq, and infiltrating armed gangs in El Salvador.

Both Perry and Harvey own ARRI AMIRA cameras, and have used them on a wide range of documentaries over recent months. During this workshop they will share their experiences and provide general guidance on shooting with available light in unscripted situations.

Perry notes, “If you study painting you’ll see that daylight coming through a single window can be used to make a scene look beautiful. Learning to control available light and make it work for you is a crucial skill in documentaries, so we’ll be looking at that. We’ll also discuss handheld camerawork, analyzing what you can do in terms of camera position and configuration to make sure you don’t miss those unrepeatable moments.”