A Visit to ARRI in München
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The 70mm Newsletter
Written and photographed by: Thomas
Nielsen, Gerhard Fromm and
Mr. Franz Kraus, head of ARRI Group
In the late 1990s, Mr. Gerhard Fromm invited me to come to München to
talk about movies and cameras. In 2009 I was finally on my way to see
him. The visit included a visit to the world famous ARRI Group in
München. Gerhard welcomed us near the end of the train platform and
drove us to Türkenstrasse 89, the home of the ARRI Group, the world
leading manufacture of motion picture cameras and everything else a
movie production needs. I had sent a letter of introduction in advance,
per Gerhard’s advice, to the manager Mr. Franz Kraus explaining how we
would be pleased to visit ARRI.
The ARRI name was certainly not unfamiliar to me. ARRI have made cameras
in all formats, size and shapes since 1917, and had recently moved into
the digital world too. Besides cameras, the ARRI group also manufactures
lighting equipment for movie production, runs their own cinema, "Neues
ARRI Kino", and is also involved in restoring films, digitising film,
and post production.
in 70mm reading:
Gallery: A Visit to ARRI in München
Interview With Otto Blaschek - The
Making of ARRI 765
Re-visiting Large Format With
In the Movies with
Arnold & Richter
D - 80701 Muenchen
host this morning Mr. Michael Koppets and Gerhard Fromm talking about
We parked the car and were welcomed by Mr Kraus and Michael Koppets
(Senior Engineer Research & Development). Mr. Koppets was our host for
the day and would show us around the facility. In the foyer all ARRI's
achievements and awards were on display, including several Oscars.
We were encouraged to take as many pictures as we liked, except at their
clients in the camera rental department. ARRI is a very open and
accomodating company and both Orla and I felt very welcome this morning.
I knew the name Arriflex, the name of their camera and their lighting
equipment but I had no idea that ARRI Group is a complete studio,
laboratory (with familiar smell of developer chemicals) and post
production facility as well as being the place where they build and
service their cameras.
The facility at Türkenstrasse covered a whole block of buildings except
one house on the corner of the building, which is the home of a bakery.
For decades, the owner of the bakery has refused to sell his house to
August Arnold and Robert Richter, the founders of ARRI.
Zeiss camera lenses are calibrated in a small room with a purpose built
Kollimator hanging from the ceiling.
We started the tour in the lens department where new lenses from Carl
Zeiss are calibrated in a small room with a purpose built Kollimator hanging
from the ceiling. The ARRI Ultra prime lens is mounted, and the light in the
kollimator is turned on so the ARRI prime is projecting light onto a white
ARRI's Staff checks for many things like sharpness and correct distance
measurement. It is important to make sure there are no faulty elements in
the lenses. The lenses are checked with very high contrast, so scratches
show up as gray areas on the high contrast image. It was interesting to see
the edge-to-edge sharpness of the lenses with extreme short focal length.
Stueart with the large format scanner, demonstrating a small roll of 65mm
Some years ago Franz Klaus bought a 65mm scanner for large format film
operations, and everybody asked him ”What do you want with that?”.
Well, it turned out to be a good addition to their fleet of ARRI 35mm and
The 65mm scanner is run by Steven Stueart, and can even scan 15 perf 70mm.
Each frame is scanned in 3 parts and later stitched together in a computer.
For many years ARRI have been on the leader on the scanner market with their
I noticed some 70mm film was stored in Danish butter cookie cans.
Nielsen next the display cabinet with many of ARRI's awards.
Today [2009, ed] it is normal to scan the 35mm negative and edit the
film digitally. Once the film is edited, the digital files are later
burnt/written onto a 35mm negative film, from which prints for the cinema
are made. In theory, all prints are "first generation" prints which means
sharper and better 35mm prints in cinemas and happy customers.
ARRI cameras have been built for more than 90 years. Today the 35mm flagship
cameras are the 435, 235 and 535 cameras as well as the the ARRI 765 65mm
camera and the brand new 416 16mm camera.
The latest generation [2009, ed] of digital cameras; the D20 & D21 are also
being produced in great numbers.
All cameras are built from ground up in Türkenstrasse. We were fortunate to
be shown some details of this line of manufacture. Everything is documented
to the smallest detail and the highly skilled staff are sitting in very
pleasant rooms in a friendly environment where they assemble these
Everything is built in-house, and next door was the service department where
all cameras are serviced and repaired. Not only are the latest cameras
serviced, all ARRI models are serviced and repaired there.
Older ARRI cameras are also updated, repaired and serviced. Older
cameras can have electronics updated or their mirrors changed. Unlike
Panavision, ARRI Group sell their cameras to studios and film makers. One
director of considerable fame, who owned his own ARRI cameras was
member of the ARRI team holding a small piece of camera part.
Each member of the staff has his own set of tools and they are all kept in
mint condition for this specialized work. Everywhere we went, we met only
smiling and happy ARRI people who were eager to talk to us and were very
open to our questions and the visit. It appears many have had very long
careers at ARRI, and the company continues to recruit new staff.
The highly skilled staff can work in other department after their own wish,
and develop their skills in all ARRI's mechanical shops. It is important for
ARRI to keep the "know-how" in the company, and make sure the staff have a
good working environment. A loyal and dedicated staff will stay for many
years if they are happy with their work.
shot of "As Good asit Gets" projected digitally
ARRI sells their equipment to camera rental companies all over the world.
Asia and India are very big markets. ARRI even sells camera to Panavision,
which does not make their own cameras any more. Panavision adapts ARRI
cameras for their use and lenses.
We left one building with cameras and lenses, walked across the court yard
to the camera rental department and downstairs to the preparation rooms.
Camera crews are preparing and testing their camera sets before they go out
and shoot the film.
We were told ARRI had arranged a
ARRI 765 for us to see. And there it was, in all its majesty - the ARRI
765 on a tripod. More than 20 years ago, ARRI decided to build a series of
65mm cameras. 12 cameras were built at the ARRI factory in Vienna and the
new camera was premiered in 1989. We learned it was built at the old Eumig
factory and by their former engineers.
The 765 seems to be a large camera, but it is not large when you compare
with older unblimped Panavision and Mitchell 65mm rack-over cameras. The 765
is self blimped, which means it is very quiet and does not need a big sound
proof box around it to minimize camera noise. It’s very stylish in ARRI's
design and look very much like its smaller 35mm cousins - only larger. One
of ARRI's technicians explained how it worked, and
Gerhard Fromm was
listening and studying the camera eagerly. Gerhard was a camera engineer for
many years, and once worked with the
MCS 70 camera in the
Not only was the ARRI 765 on display for us to have a look at, ARRI also
brought out some of the standard flight cases containing all the accessories
for the camera.
One box contained the lenses, a 24mm, a 110mm and a 50mm.
I seem to recall the normal basic complement is 12 cases in a complete
camera package for the 65mm camera. It is a lot of boxes to keep track of,
and they contain equipment, lenses, magazine, camera body and accessories.
On the top floor in one of the buildings, ARRI have a small screening room
with 20 seats. Mr. Henning Radelin showed us in after taking a few images
outside. In the screening room - with digital projection - we saw “As
Good as it Gets” which was shot partly in 65mm with the ARRI 765. It was
a pleasure to view the clear bright pictures from this DCP, and the scenes
filmed in 65mm really were outstanding. It didn't hurt, that the girls on
the screen looked terrific too.
Henning also told us about 4-5 65mm short films which Michael Ballhouse made
for the director of the Venice Festival a few years ago. Short
vignettes filmed in large format. Only 1 minute long. We didn't see the
short films. ARRI sponsors and produces film too, and they house a large
post production facility
left Gerhard Fromm,
Michael Koppets behind
the ARRI 765, Orla Nielsen and Thomas Hauerslev.
ARRI in Türkenstasse is a huge complex of many buildings including two
studios, TV production, camera shop, prepping facilities and a laboratory.
The tour was very interesting and we were greeted by smiling and friendly
people everywhere as we walked from department to department. In camera
manufacturing Mr. Koppets told us how they continue to recruit new staff and
train them in-house. Making cameras is very specialized work and require
highly skilled staff. Many people have been employed by ARRI for many years.
To avoid boredom with the same job everyday, the staff are offered to work
in different departments.
In the same building as the ARRI Group, is also a cinema called ARRI Kino. A
state of the art cinema complete with film and digital projectors. It was
pleasing to see a Philips / Kinoton DP75 and an FP30 in the very small and
compact projection room. Endless racks with sound equipment and cables, plus
a 5-platter non rewind system. It was as if you were in a film set like "Das
Boot" - there was NOT room for anything but showing films.
The day ended with lunch with Mr. Klaus and Mr. Koppets in a nearby
restaurant. Our four-hour visit had come to an end, and we left ARRI around
15 o'clock in the afternoon. I'd like to extend my warmest thanks to the
ARRI group for making this visit possible and making us feel so welcome that
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