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ARRI编年史
献给新世纪的35mm摄影机
2017年ARRI成立100周年之际，我们推出了一系列ARRI编年史，带您见证ARRI陪伴影视工业逐步发展的每个重要时刻。本期为您讲述ARRICAM的发明，及其与ARRIFLEX 435一同在21世纪初期被广泛应用到多部脍炙人口的电影中的拍摄故事。
2000年
ARRI奥地利分公司与维也纳的Moviecam公司（现属ARRI集团）联合设计出世界上最先进的35 mm摄影机系统ARRICAM，一举成为销量冠军。ARRICAM Studio（ST）和ARRICAM Lite（LT）摄影机与ARRIFLEX 435一起成为了电影行业最受欢迎的摄影机。
ARRICAM是一套强大的同步音频的摄影机系统，功能创新、运行安静，友好的人体工学设计和明亮的光学取景器对掌镜摄影师来说是最先进的设计方案。在电影摄影机发展史上，首次在镜头与摄影机中集成了一套自动化的镜头数据系统系统（LDS），它简化操作并提供了完整的镜头信息。大量的机械与电子附件，包括四种胶片盒和四种取景器在两个型号上都能使用，给予了电影人极大的灵活性。
2000年
《天使爱美丽》
让-皮埃尔.热内（Jean-Pierre Jeunet）这部迷人的电影作品讲述一个巴黎女孩对生活与爱情的探索，本片的摄影师是AFC/ASC成员布鲁诺.德尔邦内尔（Bruno Delbonnel），他使用的主力设备是ARRIFLEX 535，偶尔会用上一台435ES，镜头则是Ultra Prime和Variable Prime。这部电影利用ARRILASER胶片记录仪将DI回录到胶片上，这样的后期处理方式让导演热内能够全面掌控色彩，特别是要让无处不在的金色、绿色与其它一系列颜色和谐悦目。
2001年
《魔戒首部曲：护戒使者》
彼得.杰克逊（Peter Jackson）的“魔戒三部曲”电影是1999至2004年间在新西兰套拍完成的，第一部即是《护戒使者》。ACS/ASC摄影师安德鲁.莱斯涅（Andrew Lesnie）准备了一大套设备：四台ARRIFLEX 535、七台ARRIFLEX 435再加上一堆Ultra Prime定焦镜头，最多的时候有九个摄影组同步拍摄。彼得.杰克逊专门给这部电影买了一台ARRILASER胶片记录仪，影片经过数字化调色完成后回录到胶片上。莱斯涅凭借本片获得了奥斯卡最佳摄影，“魔戒三部曲”的第三部也就是最后一部《国王归来》一鼓作气赢下了11座奥斯卡奖，之前能创下这一记录的仅有1959年的《宾虚》和1997年的《泰坦尼克号》。
2002年
《芝加哥》
导演、编舞师罗伯.马歇尔（Rob Marshall）将这出音乐剧搬上大银幕，所有的音乐剧曲目都在一个名叫Onyx的剧院拍摄，这种场景代表着片中一个主要人物的幻想世界。ACS/ASC摄影师迪昂.比比（Dion Beebe）将剧院与电影两种风格的灯光结合在一起创造出一种高度多变的灯光方案，他也凭借此片获得奥斯卡最佳摄影提名。迪昂.比比选用ARRICAM Lite和Studio摄影机的主要原因是看中它们的机动性。
下期预告：
ARRI的光动力学
往期回顾
ARRI百年全球电影人访谈系列现已上线，点击阅读原文或登入100.arri.com，走进ARRI百年交互式时间线并观看ARRI百年访谈系列视频。
ARRI Historical Chronicle
35mm for a New Century
2017, ARRI is celebrating the 100th anniversary. We continuously post ARRI's historical chronicle to bring you closer to ARRI and its developments during the past century. This week, we'd like to tell you the story of the invention of ARRICAM and ARRIFLEX 435, which became the most popular video camera in twenty-first Century and some popular film examples and adoptions in the film industry.
2000
ARRI Austria and Vienna-based Moviecam, now a member of the ARRI Group, join forces to design the ARRICAM system, the most advanced 35 mm camera system in the world and an instant best seller. The ARRICAM Studio (ST) and ARRICAM Lite (LT) cameras join the ARRIFLEX 435 to become the most popular and widely used cameras in the feature lm industry.
ARRICAM is the ultimate sync-sound lm camera system, combining innovative features, quiet operation, user-friendly ergonomics and a bright optical view ender that is unsurpassed for operators. For the first time in a motion picture camera, an automated Lens Data System is integrated into lenses and cameras to simplify operation and provide full lens information. The extensive range of mechanical and electronic accessories, including four magazines and four view enders that work on both cameras, allow great flexibility for the filmmaker.
2000
Amélie
Jean-Pierre Jeunet’s charming story of a quirky Parisian girl’s explorations of life and love was photographed by Bruno Delbonnel AFC, ASC. He shot with an ARRIFLEX 535 and occasionally a 435 ES, using Ultra Primes and Variable Primes. The lm was put through a DI and recorded back out to lm on an ARRILASER. This postproduction process allowed director Jeunet full control over the color chemistry, in particular the harmonizing of golds and greens with a range of other colors.
2001
The Lord of the Rings: The Fellowship of the Ring
Peter Jackson’s three Lord of the Rings films, of which The Fellowship of the Ring was the first, were shot back-to-back in New Zealand between 1999 and 2004. Cinematographer Andrew Lesnie ACS, ASC had a kit that included up to four ARRIFLEX 535s and seven ARRIFLEX 435s, complemented by Ultra Prime lenses. At times there were up to nine units shooting simultaneously. The lm was digitally graded and recorded to lm with the ARRILASER, which Peter Jackson purposely bought for the production. Lesnie won the Best Cinematography Oscar® for this lm; the third and final installment would go on to win 11 Academy Awards, a feat matched only by Ben-Hur and Titanic.
2002
Chicago
Director and choreographer Rob Marshall translated this stage show to the screen by locating all of its musical numbers in a theater called the Onyx, which represented the fantasy world of a principal character. Dion Beebe ACS, ASC, who was Oscar® nominated for his photography, combined theatrical and lm lights to create a highly versatile lighting scheme. He chose ARRICAM Lite and Studio cameras, mainly because of their maneuverability.
Coming Next:
ARRI's Illumination Dynamics
Previous Stories:
The Making of In the Mood for Love (2000)
Go to 100.arri.com to explore the last century of cinema and watch hundreds of filmmaker interviews.
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