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ARRI編年史
ASC攝影師麥可·包浩斯與ARRI鑄就的更多輝煌
2017年ARRI成立100周年之際，我們推出了一系列ARRI編年史，帶您見證ARRI陪伴影視工業逐步發展的每個重要時刻。本期為您講述ASC攝影師麥可·包浩斯的故事與ARRI鑄就的更多創新與輝煌。
麥可·包浩斯
在碩果纍纍的電影攝影師職業生涯裡，ASC攝影師麥可·包浩斯（Michael Ballhaus）會選擇ARRIFLEX攝影機就說明了很多問題，多年來這一產品系列不斷推陳出新，他也陸續採用過各種不同型號的ARRIFLEX。包浩斯出生在柏林，他的家庭與這門戲劇化的藝術形式其實早已結下不解之緣。他的叔叔卡爾·包浩斯（Carl Ballhaus）就是一位知名的舞臺劇與影視劇演員，他的父母即是演員也是戲劇發燒友。1947年，他們全家搬到巴伐利亞州的一個城堡成立了法蘭克劇院，這個城堡不但可以住下20個演員，還有一個舞臺，包浩斯的父母在這裡定期舉辦演出。包浩斯把這裡看得和學校的功課一樣重要，只要一有時間就在這裡給演員拍照，學習攝影技術。
17歲時，包浩斯在德國導演馬克斯·奧菲爾斯（Max Ophüls）《傾城傾國慾海花》的片場待了一周，觀摩法國攝影師克裡斯蒂安·馬特拉斯（Christian Matras）的工作。學習攝影兩年後，他在巴登巴登市一個新成立的電視臺找到一份掌鏡攝影師的工作。到了25歲時，他拍攝了他的第一部長片，除了做自由攝影師之外還在一所位於柏林的電影學校教學生。1970年，在愛爾蘭拍攝一部紀錄片時，他得到一個為導演賴納·維爾納·法斯賓德（Rainer Werner Fassbinder）拍攝《威迪》的機會。《威迪》是包浩斯和法斯賓德總共15次合作的開篇之作，這位導演總是孜孜不倦推動攝影師在壓力之下創作出能夠吸引人的畫面。他們的工作團隊人數很少，而日程安排緊張得要跑斷腿，通常一部影片的拍攝周期只有20天甚至更少。獲得第22屆柏林國際電影節金熊獎的劇情片《柏蒂娜的苦淚》放映時長超過兩小時，只用10天就拍完了。這一段時期ARRIFLEX 35IIC跟隨包浩斯轉戰南北，1973年，他使用ARRIFLEX 16BL拍攝了《瑪爾塔》。自ARRIFLEX 35BL發布後，35BL就成為了他的御用裝備。
1982年他開始在美國發展，拍攝的第一部電影是《親愛的妙先生》，接下來又拍了約翰·塞爾斯（John Sayles）的《寶貝就是你》，這部影片讓馬丁·斯科塞斯（Martin Scorsese）注意到他，隨後就邀請他加入《基督最後的誘惑》的劇組，但這個項目遇到狀況拖延，因此他與斯科塞斯合作完成的第一部電影其實是1985年的《下班後》。自那以後他們又繼續合作了六部電影長片，其中包括《金錢本色》和《好傢夥》，兩部影片都是使用ARRIFLEX 35BL系列攝影機拍攝的。
ARRIFLEX 535一發布就受到包浩斯的青睞，用這款攝影機為斯科塞斯拍攝了《純真年代》和《紐約黑幫》，為弗朗西斯·福特·科波拉（Francis Ford Coppola）拍攝了《吸血殭屍驚情四百年》，為沃爾夫岡·彼德森（Wolfgang Peterson）拍了《空軍一號》。更近期的作品是他使用ARRICAM和ARRIFLEX 435為斯科塞斯拍攝的《無間行者》，這部電影他還採用了ARRI/Zeiss Variable Prime和Master Prime鏡頭。
幾十年來，麥可·包浩斯都是世界上炙手可熱的電影攝影師之一，與許多備受尊敬的導演有過合作。他的三部作品《廣播新聞》、《貝克兄弟》和《紐約黑幫》獲得奧斯卡提名，2007年，他獲得ASC頒發的國際成就獎。他在自己最後一部作品《3096天》（2013）裡首次採用數字攝影機，使用的機型是ARRI ALEXA。2017年4月，麥可·包浩斯在柏林去世。
2006
《無間行者》
馬丁·斯科塞斯（Martin Scorsese）這部講述波士頓地區愛爾蘭黑幫的電影群星雲集：傑克·尼科爾森（Jack Nicholson）、馬特·達蒙（Matt Damon）、萊昂納多·迪卡普裡奧（Leonardo DiCaprio）、馬克·沃爾伯格（Mark Wahlberg）、馬丁·辛（Martin Sheen）個個都能獨擋一面。《無間行者》翻拍自2002年的香港電影《無間道》，無論從票房還是評價都一路飄紅，攬下四座奧斯卡獎，其中包括份量最重的「最佳影片」和「最佳導演」。這部影片的攝影是斯科塞斯熟悉的合作夥伴、ASC攝影師麥可·包浩斯（Michael Ballhaus），他使用的是ARRICAM和ARRIFLEX 435攝影機。
2007
《太陽浩劫》
BSC攝影師阿爾文·卡克勒（Alwin Kuchler）為丹尼·鮑爾（Danny Boyle）執導的科幻驚悚片選擇了多種格式組合的拍攝方式，他既使用UltraPrime球面鏡頭，又用了Hawk變形鏡頭。他選用ARRICAM與ARRIFLEX 235的原因是二者的模塊化設計與小巧身形更適合狹小的場景。在表現虛擬實境的「地球房間」橋段裡，他使用ARRIFLEX 765攝影機以65 mm格式拍攝片中用到的景片，個別場景裡他還利用剛發布不久的UltraPrime 8R拍攝無畸變的廣角畫面。
2008
專業攝影機附件
一代又一代電影界專業人士在使用ARRI產品時都學會了如何操作跟焦單元、遮光鬥、底板與支撐導軌，這些附件的製造品質可謂全球聞名。承襲這一傳統，ARRI奧地利分公司開發出專業攝影機附件（PCA）系列，為幾乎任何攝影機提供功能豐富的電影風格的附件工具。
2008
《007：大破量子危機》
詹姆斯·邦德系列的改編新作《007：大戰皇家賭場》獲得巨大成功，新一集007電影的攝影指導，ASC攝影師羅伯託·謝弗（Roberto Schaefer）希望呈現一種向前作致意但又有別於前作的視覺風格，如他所說要回到這部電影1960年代的「現代式復古」視覺風格中去。為了達成這一目的，他使用了全套ARRI 35 mm攝影機裝備：ARRICAM Studio、ARRICAM Lite、ARRIFLEX 235、435與535，配以ARRI Master Prime鏡頭。他用這些設備捕捉下該片導演，同時也是他長期合作搭檔的馬克·福斯特（Marc Forster）所要呈現的迷人效果與驚心動魄的爆破場景。
2008
數位化改良
根據電影人與租賃機構的反饋意見，ARRI重新設計ARRIFLEX D-20的圖像處理鏈，
升級內部硬體，優化影像傳感器時序，ARRIFLEXD-21隨之問世。ARRIFLEX D-21為攝影師們帶去了更銳利、更鮮豔的畫面，同時也是唯一一款配備光學取景器的電影風格數字攝影機。
2008
亞洲版圖
2008年，ARRI亞洲公司在香港開業，這裡也是ARRI在亞洲地區的運營總部。2011年，ARRI中國成立。2017年，ARRI亞洲公司啟用新的大型辦公空間。
2009
靠近一點
隨著Master Macro 100微距鏡頭的發布，Master Prime鏡頭家族再一次擴充陣容。放大比1:1，最大光圈T2.0，Master Macro 100為極近特寫鏡頭提供了非比尋常的銳利度與對比度，整個畫面照度特別均勻，解析度驚人。同時，得益於先進的多片式光圈葉片，焦外高光圓潤、風格自然。
2009
網絡印片
ARRILASER經歷了一個成功的十年，在發布第二代產品之前，ARRI為其配備了最新研發的電子系統與軟體，並加入用戶呼籲的功能特性。ARRILASER 2全新設計的Trillian界面提供了前所未有的操作自由度，顯著提升了素材樣片的執行效率。Trillian的主要優勢在於只需簡單一個應用軟體就能控制與操作多個層，而全新的客戶伺服器架構讓用戶在網絡的任何位置都能訪問所有的ARRILASER軟體應用。
2009
《跨國銀行》
導演湯姆·提克威（Tom Tykwer）與長期合作的攝影師弗蘭克·格裡比（Frank Griebe）遊走伊斯坦堡、柏林、裡昂、米蘭和紐約炮製這部緊張刺激的驚悚電影。格裡比將ARRICAM 35 mm 攝影機系統與Master Prime鏡頭搭配，在需要捕捉卓越細節的特殊橋段，他還用上一臺65 mm的ARRIFLEX 765。本片美術指導尤裡·漢尼希（Uli Hanisch）為每個城市定義了色彩主題，巧妙地將柏林的現代主義建築、紐約的硬朗街區和伊斯坦堡的傳統美對比起來。該片的素材樣片由慕尼黑的ARRI實驗室製作，DI工作在位於柏林的ARRI Schwarzfilm完成。
從模擬時代的後期製作先驅.
1982年，ARRI的分公司ARRI Video成立，代表ARRI開始涉足從膠片衝印到磁帶式視頻圖像的後期製作領域。後來，這家分公司把名稱更改為ARRI Film & TV，提供數字後期製作服務。再後來，它成了今天的ARRI Media。
.到數位化調色頂級平臺。
如今，ARRI Media提供電影前期製作、後期製作、音頻、視覺效果、雲服務以及國際發行銷售服務。2016年，ARRI Media建立歐洲第一個Dolby Vision調色平臺，配備Dolby Atmos音頻系統和Dolby Cinema雷射放映機，讓這家公司成為具備高動態範圍（HDR）頂級製作技術的公司。
2009
探索LED
ARRI以PAX系列為契機繼續深入探索LED技術，ARRI Caster系列在經濟實惠的價位上提供了一個高效的LED廣播燈光解決方案。而LoCaster有六種色溫設定，是機動拍攝的理想伴侶。BroadCaster內建DMX控制器，在小型和中型演播室的狹小空間中照明時適應性極強。
下期預告：
ARRI鏡頭與燈光家族的壯大和革命性的攝影機ALEXA的誕生與成長
往期回顧
ARRI燈光和鏡頭的創新與ARRIFLEX的發展
ARRI產品鏈與科技的進一步擴軍（下）
ARRI產品鏈與科技的進一步擴軍（上）
獻給新世紀的35mm攝影機
《花樣年華》
ARRI百年全球電影人訪談系列現已上線，點擊閱讀原文或登入100.arri.com，走進ARRI百年交互式時間線並觀看ARRI百年訪談系列視頻。
ARRI Historical Chronicle
The Story of Michael Ballhaus ASC and ARRI's More Innovation and Achievement
Michael Ballhaus ASC
Making a point of selecting ARRI cameras throughout his distinguished career as a cinematographer, Michael Ballhaus ASC utilized a widevariety of different models as the product range developed over the years. Ballhaus was born in Berlin to a family already connected with the dramatic arts. His uncle Carl Ballhaus was a well-known actor of stage and screen; his parents were also performers, as well as theater enthusiasts, who in 1947 moved the family to a castle in Bavaria and founded the Fränkische Theater. The castle had rooms for 20 actors and a stage where his parents regularly put on plays. Ballhaus involved himself to as great a degree as his schoolwork allowed, learning photography by taking pictures of the actors.
At the age of 17 he spent a week on the set of Max Ophüls』 Lola Montès, observing French cinematographer Christian Matras at work. After studying photography for two years he found employment as a camera operator at a new television station in Baden-Baden. By 25, he had photographed his first feature and was combining freelance work with teaching responsibilities at a film school in Berlin. Working on a documentary in Ireland in 1970, he was offered and seized the opportunity to shoot Whity for director Rainer Werner Fassbinder. Whity was the first of 15 collaborations between Ballhaus and Fassbinder, who relentlessly pushed the cinematographer to create interesting images under pressure. They worked with a minimal crew at breakneck speed, usually completing films in 20 days or less; award-winning feature The Bitter Tears of Petra Von Kant, which has a running time of over two hours, was shot in 10 days. During this period, Ballhaus was making heavy use of the ARRIFLEX 35 IIC, and in 1973 filmed Marthawith the ARRIFLEX 16BL, though the ARRIFLEX 35BL became his camera of choice after its introduction.
He started making films in America with Dear Mr. Wonderful in 1982, followed by John Sayles』 Baby It’s You, which got him noticed by Martin Scorsese, who subsequently asked him to shoot The Last Temptation of Christ. This project was delayed, so the first film Ballhaus made with Scorsese was actually After Hours in 1985. They subsequently worked together on a further six features, including The Color of Money and Goodfellas, both shot on the ARRIFLEX 35BL series.
Ballhaus embraced the ARRIFLEX 535 when it came out, using the camera for further Scorsese collaborations The Age of Innocence and Gangs of New York, as well as other films including Francis Ford Coppola’s Draculaand Wolfgang Peterson’s Air Force One. Later he used ARRICAM cameras and the ARRIFLEX 435 on Scorsese’s The Departed, for which he also utilized ARRI/ZEISS Variable Primes and Master Primes.
For several decades Ballhaus was one of the most sought-after cinematographers in the world, and worked with many of the most revered directors of his time. He received three Oscar® nominations for Broadcast News, The Fabulous Baker Boys and Gangs of New York, and in 2007 was presented with the ASC International Achievement Award. On his final film, 3096 Days (2013), he made the transition to digital and worked with the ARRI ALEXA. Michael Ballhaus died in April 2017.
2006
The Departed
Martin Scorsese’s Boston-based Irish-Catholic gangster film pulled together an impressive cast, including Jack Nicholson, Matt Damon, Leonardo DiCaprio, Mark Wahlberg and Martin Sheen. Adapted from the 2002 HongKong film Infernal Affairs, The Departed was a commercial and critical success, garnering four Academy Awards, among them Best Picture and Best Director; it was shot by long-time Scorsese collaborator Michael Ballhaus ASC, who captured with ARRICAM and ARRIFLEX 435 cameras.
2007
Sunshine
Cinematographer Alwin Kuchler BSC chose to shoot Danny Boyle’s science fiction thriller with a combination of formats, making use of Ultra Prime spherical lenses and also Hawk anamorphics. He selected ARRICAMs and the ARRIFLEX 235 because their modular design and compactness were useful on the tight interior sets. For scenes set in a virtual reality Earth Room, he shot plates in 65 mm with the ARRIFLEX 765, and on several occasions utilized the Ultra Prime 8R for distortion-free wide-angle filming.
2008
Pro Camera Accessories
Generations of film professionals have learned how to operate follow focus units, matte boxes, base plates and support bars by working with ARRI products, which are internationally renowned for their durable build quality. In recognition of this, ARRI Austria develops the Pro Camera Accessories (PCA) range, comprising versatile tools that endow almost any third-party camera with film-style functionality.
2008
Quantum of Solace
Following the enormously successful reinvention of the James Bond franchise with Casino Royale, Roberto Schaefer ASC aimed to createa look that would complement but differ from its predecessor, taking a visual approach that harked back to the films of the 1960s—「retro-with-modern,」 as he termed it. In order to do so he employed the full range of ARRI 35 mm cameras: ARRICAM Studio and Lite, ARRIFLEX 235, 435 and 535, along with Master Prime lenses. These he put to striking effect in capturing director and long-term collaborator Marc Forster’s explosive action sequences.
2008
Digital refinement
Based on feedback from filmmakers and rental houses, ARRI redesigns the image processing, upgrades the internal hardware and optimizes the sensor timing of the ARRIFLEX D-20. The result is the ARRIFLEX D-21, offering cinematographers increased sharpness and color saturation, while still remaining the only film-style digital camera with an optical view finder.
2008
Expansion into Asia
ARRI Asia opens for business in Hong Kong in 2008, establishing a headquarters for operations in this part of the world. ARRI China follows in 2011 and in 2017 ARRI Asia moves into a new and larger space.
2009
A closer view
The Master Prime lens family expands with the launch of the Master Macro 100. Featuring a 1:1 ratio and a maximum aperture of T2.0, it delivers phenomenal sharpness and contrast for extreme close-ups, with remarkably even illumination and resolution across the frame. It also benefits from an advanced, multi-bladed iris, resulting in round and natural-looking out-of-focus highlights.
2009
Networking lasers
After a successful decade with the ARRILASER, ARRI implements the latest developments in electronics and software, and incorporates customer feature requests, before launching the ARRILASER 2. With the new Trillian interface it offers unprecedented exibility of operation, speeding up daily operations signi cantly. The main advantage of Trillian is its ability to control and operate multiple lasers with the ease of just one application, with the new client server architecture permitting all ARRILASER software applications to be accessed from anywhere in the network.
2009
The International
Director Tom Tykwer and long-time cinematographer Frank Griebe travelled from Istanbul to Berlin, Lyon, Milan and New York for this tension-laden conspiracy thriller. Griebe used the ARRICAM 35 mm camera system with Master Primes, in addition to a 65 mm ARRIFLEX 765 for specific sequences that required exceptional detail. Along with production designer Uli Hanisch, he created a color concept for each city, skillfully contrasting the architectural modernism of Berlin, the gritty streets of New York and the classical beauty of Istanbul. Dailies were developed by the ARRI lab in Munich, whilst DI work took place at ARRI Schwarz film in Berlin.
From pioneering analog postproduction ...
In 1982 the ARRI Video subsidiary opened its doors, extending ARRI’s involvement in postproduction from film laboratory work to the manipulation of tape-based video images. Later the company changed its name to ARRI Film & TV and moved into digital postproduction services; later still it became ARRI Media.
... to state-of-the-art digital grading.
Today, ARRI Media is involved in filmproduction, postproduction, sound, visual effects, cloud services and international film sales. In 2016 ARRI Media opened the first Dolby Vision grading studio in Europe, equipped with Dolby Atmos sound and laser-based Dolby Cinema projection, putting the company at the cutting edge of high dynamic range (HDR) postproduction.
2009
LED explorations
Continuing ARRI's exploration of LED technology with the PAX xtures, the ARRI Caster series presents an e cient solution for LED broadcast lighting at an attractive price level. The compact and lightweight LoCaster offers a choice of six color temperature settings and is an ideal companion for mobile applications. The BroadCaster incorporates a built-in DMX controller and o ffers versatility when lighting tight spots in small and medium-sized studios.
Coming Next:
The Growing of ARRI Lens and Lighting Family and the Birth and Growth of Revolutionary Camera ALEXA
Previous Stories:
The Innovation of ARRI's Lighting and Lens, and the Development of ARRIFLEX
Further Expansions of ARRI Product-Chain and Technology (Part 2)
Further Expansions of ARRI Product-Chain and Technology (Part 1)
35mm for a New Century
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.