- This episode is brought
to you by Storyblocks. All right, we have made
it all the way here to Arri headquarters
here in Munich, Germany. We're gonna go really in depth and answer the one big question. Is it pronounced Arri or Arri? - I don't know. But first of all, do we really
have to wear these right now? I don't see anyone else wearing these. - No, this is definitely the uniform. Got the socks and everything. This is called a Lederhosen, how you say? - Lederhosen?
- Lederhosen, yeah, I feel so good right now. Sebastian.
- Hi, Gene. - What's up?
- How you doing? Good to see you.
- Yeah. - I thought you said we were supposed to wear these to get into the... - Oh, darn, I thought we
were gonna wear that tonight. - Tonight?
Oh shoot. You brought to change of clothes though? - No, man, I don't have anything else. - Oh, you're telling me we're
here at Arri headquarters and I'm gonna be walking
around like Japanese Pinocchio? Oh, shoot, what are we gonna do? - I'll put my costume on so we at least, we'll
look coherent here, Okay? - Sure. - We must report for duty. (snickers) - People should take
care of their cameras. - Absolutely.
- Treat it well, but... - But they don't.
- Not. I see, so this is the, if-not test. If I break this camera,
I'm not liable, right? Or was that in? I didn't read the contract, I
hadn't, signed this morning. - You signed it already.
(laughs) (metal colliding) - Ah. - Okay, 55,000 please.
(laughs) - You guys do this with
a real working camera and everything?
- Yes. Not for every camera,
you know, you do it once, once in a while.
- Ah huh. - You know, because of course it gets a little damaged here on the side. - Yeah, it scratches.
- So. - The paint.
- It scratches a bit. - Yeah.
- And this is, one of the many tests. (metal colliding) - Oh, that sound.
- The sound is horrible. - It hurt me. It felt like punching a baby. Like you would think it's fun. It's not fun.
- It's not fun, okay. - He's saying I need to do
it from the higher position. - Need more pain.
- We need more pain. How much of a beating has this one taken? - The first time.
- What? - It's the first time for that camera. - That was the first hit of the camera? - Yeah, so it needs the second. - I thought this was the camera that's already been beaten to death that you didn't care about anymore. That was a brand new one? - We already sold it so
somebody will get it tomorrow. (laughs) - Well, in that case.
(metal colliding) Oh, okay, I'm done. I think I'm done, I can't
handle any more of this. Why are you laughing at this torture? - The camera loves it. - I think I might be traumatized. You're usually the one
that does this test? (metal colliding)
Ah. This is what you come and do for fun? They're laughing afterwards. And it, it made it crooked. Look it, this is a
hundred mil, 150 mil bull. And it's on tight, too. Loosen it to the left. (laughs)
Right? It's actually on there good. See the tighter that is. - I can't do it.
- The harder it is to bend this.
- We have tested that with a running camera.
- Ah huh. - Where you see that the camera was filming itself in a mirror and the camera continued recording. That's the job of the camera. - Didn't drop any frames
or anything like that. - Nothing.
- It just kept going. - The drive worked well, the
whole camera worked well. The lens stayed where
it is and in good shape. So we measured it, but it didn't
have to be adjusted at all. - Oh, so it didn't have to be re-shimmed or anything like that?
- Nothing. Cables are here and somebody, you know, could pull a cable or step on the cable and so, which would pull
the camera to that side. - Ah huh.
- So it's more common that a camera is damaged on
that side than on this one. - This the one how you
test your Codex cards, the? (laughs)
- I dunno what we do with that,
maybe the signature primes. (laughs)
- Oh no. Now this trip to Germany
actually happened last year and ever since it's been kind
of sitting on a hard drive and I've been meaning
to go back to edit it, but I wasn't quite sure
how to piece it together or how I wanted to edit it. We just kind of went around
and just shot and shot. And this just became so much footage that I've been kind of
procrastinating editing this. But times like this is
when using Storyblocks is actually really useful. I just need a good way to just kind of tie everything together. And one of the easiest ways to do that is to just throw in some voiceover with some irrelevant b-roll. So I just went to Storyblocks where they have over a
million stock assets, then I can just drop in this b-roll. And you may have noticed that this is something I like to do, even on videos that aren't
sponsored by Storyblocks. It just kind of helps
tell a part of the story that you need to without having
to go back and do re-shoots. And with my subscription, I have access to all of
this unlimited download, so I could use as much
or as little as I want for all my projects. On top of all this,
there's graphic templates, sound effects, and the music
you're listening to right now. So if you wanna give 'em a shot, there's a QR code on the screen or hit that link down
there in the description. Honestly, they're one of
the best values you can get considering all that you
get with one account. So thanks again to Storyblocks
for sponsoring this episode. Are you laughing at the way I look? - No, no, no.
(laughs) - I was tricked into this.
- Yeah, were you? - I have, I dress normally usually. - Yeah.
(laughs) - You never actually wear this to work? - No, we do on occasion. So first of all, I'm gonna
show you the apprenticeship. So the only tools you're
allowed to use is the hand file. So the first six months that you're actually in
the apprenticeship here. - Do your hands hurt after a while? - Yeah, it does.
- It does. And then they come to here
and this is all hand shaved? - Yeah, you're looking for, in this case, no light through the cracks basically. And then just to make it a
little bit harder as well, it also has to have no light
passing through if you turn it. - Do you have your own that you made? - At home, yeah, yeah.
- Yeah. Is it like in a glass case?
- Glass cabinet, yeah. - How do you say that? - Grundlehrgang.
- Grundlehrgang? Was that good? No? So titanium's stronger
and less affected by heat. More expensive than aluminum.
- Very much more... These three pieces,
probably about 250 euro. - 250 euro.
- Or US. - Oh.
- Just raw material, yup. Haven't done anything to it yet. - Kind of starts here,
makes its way to here and a bunch of stuff
happens and then it's here. It sounds like every step of the way, there's a ton of quality control. - For sure. We shake them for 20 minutes on each axis just to make sure that all
the screws are tightened, that all the screws have
the right amount of glue. - Ah, so this is testing for TSA, the luggage loaders on the plane. - We also have them in
these climate chambers and we'll take them all the way
down to negative 20 degrees, run them in max performance,
make sure they still work. And then we'll take them
up in multiple stages, right up to 45 degrees and run them at max performance as well. - I have this little incubator at home, but this is like a legit version of that. - Exactly, yeah.
- Oh my god, this is a lot of stuff moving here. - Yeah.
- So this goes to what, the storage room or something and picks up.
- Yup. - All the parts you need?
- All the little parts as well as the completed cameras as well. - Ooh. If I scan this.
- Yep. And then (speaks German) which means deliver it to me, please. (speaks German) Pull it out.
- Hey, what's that? (laughs) I'm just kidding, please don't
release the German shepherds. (laughs) We need one of this at our house. - Oh yeah.
- Oh my God, and it has tiny little
Arri lights, look at that. - I think it's like, is it weight sensitive?
Yeah. - You need to drink it
down in under one minute if you want to work here.
- Oh. - [Gene] Now as cool as it was
to see the behind the scenes of how they put all the cameras together, the real reason why I
traveled across the world is to get to work. - Hey, Gene.
- Hey. - You finally made it.
- Yes. - What happened? - Oh, my limo broke down on the way here, can you believe that?
- No way. Should have give me a
call, I'll pick you up. - Oh really, you have a car here? - Yeah, that's my ride. - [Gene] It actually
really matches your outfit. We randomly just found
it in the parking lot. We just thought it looked really cool. We actually don't even know
whose car that is, really. We're here at Arri Rental right now and we are going to start
pre-production for my masterpiece. Time to make a movie. (bike bell rings) I like this bell, it's pretty sick. Hello, Dylan is my translator. (speaks fake German) (laughs) I'm pretty sure doesn't
take that long to say... - Hello, pleased to meet you, yes. - We'll use you later.
- Yeah. - You can go. - Do you know what you wanna shoot about and you have any ideas? - I would like to shoot on a red camera. - Even Alexa 65 we have, so whatever. - You have an Alexa 65 here?
- Yes. - Okay, I actually didn't
know you guys had that here. Can I see it, can I touch it? I've never.
- Yes, of course you can. Come in. - 65.
- Oh my god, the 65. Can I touch it?
- Yes, you can touch it. Of course, you are
professional, they told me. - Oh.
(laughs) Somebody is lying to you. There's not too many of these around. - No, not really, yeah.
- Very large format. It's very large format, you could say. I mean the cool thing
is that people who work with other Arri cameras before usually don't have a
hard time adapting to it. - I would like to shoot
my masterpiece on it but I just found out that
we had a few budget cuts because the producers,
you know how they are. But the interface looks exactly the same. So if you're used to shooting on any Arri. - Yeah, this is.
- The same ArriRaw 6.5. - Yeah, this is the. (speaks German) - Yeah.
- They don't want a camera which is harder to use. - Arri Rentals customizes
a lot of lenses, right? 'Cause I've heard about
like the DNA lenses and things like that.
- Signature primes. - If someone comes in and they say, I really like the Master Anamorphics but I wanna shoot on the LF, you can go in and adjust the sharpness and essentially tune it exactly for whatever the
cinematographer wants. - Yes, right, exactly. - Because every DP you know,
wants some individuality. - Yeah.
- Inside. If you have the right lens technician, they can fiddle around and do it for you. - You guys are actually
prepping for a shoot right now? - That's correct, yes. - Ah, can you talk about what it is or is it secret?
- Unfortunately due to an NDA we signed, I can't tell you the exact show we are prepping, but it's an international feature film. We just did in the
morning, the VFX lens grids because we have a lot of visual effects and what you actually do is actually shoot the distortion grids. If you have a lot of visual effects shots and amorphic lenses usually
have like a distortion. Then the VFX department, they analyze it in a special software so they can actually see the
distortion of the lenses. So we're prepping here
since last week on Monday. We have like one and a
half, one weeks of prep, eight prep days. - Fabio used to be an
intern here for several. - Oh you did?
- Many years ago. - 10 years ago, yeah.
- And he started and getting more and more to business and now he's, the first
day he has a big show. - Wow.
- So we are very proud of him. - Yeah.
- Very cool. - All thanks to Arri, thank you. - Yeah.
- If you show up without a memory card or something then you'd be in a lot of trouble. - Then we would be in a lot of trouble. Luckily it never happened to us. - You seem like you have it together. If I was in first AC then
we'd probably show up and half of the lenses would be missing. - Oh yeah, on this show we
carry three cameras with us. - Mm hmm.
- Three Alexa mini LF. It's a large format show. - Good luck on the show.
- Thank you very much. - Yeah, are you excited?
- I'm very excited, yeah. - Yeah. - Three days to go and
then we start shooting. - If you're looking at a small screen and it's like, I like how it looks, but then you blow it up onto a projector, then it looks a little different. This will really help see
what we're talking about downstairs when we're trying to. - Yes, yes.
- Figure out the lens. - And then if you're not happy, you go down to our lens technician, say, "oh, I would like to have
it more sharp on the right." - [Fabio] It's sort of a closed loop because the lens technician
could sit next to you and write down what you
want to have changed. So this gives both the possibility to have a really fast turnaround. You custom tune the
lenses, shoot your test, look at the test. Much faster to your perfect idea or to the perfect lens for your shoot. - It actually is great 'cause there's so much more confidence. - Yes.
- When you can just see it. right here, go straight into... - That's the most important part. - Yeah.
- For the DPs. This is now a loading situation. They're loading for big show. - Is this for the same project
that they're prepping for? - This is all for the same project, they're doing the testing. Also like in the camera department. - As you can see, they check everything that they have here from the first screw until the last lamp. - I love how the giant
lights look pretty much exactly like the small
ones but just scaled up. At like a photo of it on the internet, you go, "hmm, I could pick
up like a couple of those." And you show up in your sedan. People say cameras can get heavy but... - No.
- You're required to have some tattoos to work
in this department, right? - I don't know, we both don't have any. - Oh, no.
- I don't have any. - Usually the grip guys are with a tattoo. - This is the tube? - The tube light, tube light bulbs. - I used to have one of these and it was like this is my big light. - You wanna see a 360? - I've always wanted to know how you get this onto the stand. - Just lift it.
- Right, it's really not a heavy.
- Really? - Yeah, you can lift it one hand. - Oh my god.
- With you. - Oh that's not so bad. How much power does this use?
- 1,500. - The max?
- You can just plug this into your house and
power this whole thing. But you have to make sure that you're not running
the laundry machine at the same circuit.
- Yeah. - And don't cook water at the same time. - Oh.
- That takes up. - Oh, with the electric one. - Americans don't use.
(speaks German) - You never seem 'em, it's
always a coffee machine. - Yeah, yeah, yeah. - Americans, it's always coffee machine. - Yeah, this little small cube here could basically light up this lamp. - For about six to eight hours. - That does?
- Yeah. - About six to eight hours.
- Wow. - Which is a pretty impressive thing that we offer our customers. - Yo, you can't have a good
shot without good lighting. - That's why all DLPs come from lighting. - You wanna grab this?
(laughs) - Holy crap. - That's what we do
all day long, you know. - What we do all day long. - You have a a super techno here. Terry, this is what I want for the house. I want. - We have them in all
different sizes obviously. Basically the Maxima gimbal in here. And then just push,
I'm not doing anything. - Okay.
- It's all yours. - Oh, okay, so that's it. One person can push this actually. - Yeah.
- Ah. Even though when you're not
using the telescopic feature or the jib movements, I've seen them just bring this on and they literally just use
this instead of a tripod. - Well, yeah, yeah.
- 'Cause it's like, oh, reposition this big old camera here. - Exactly.
- It's like okay. - Yeah, yeah.
- Five seconds. - Exactly, you can position it and do movements at the same time. Whatever you need. Different sizes, for example, the 23 footer from Scorpio. One of these interior telescopic cranes. - So this one would be able to fit through a standard doorway? - Yeah, yeah. The grip crew of the next show. Their first loading day today. - Does any broken equipment ever come back and you're just like,
"how did this get broken?" - Yes.
(laughs) - Just like a huge steel beam just bent. - Yeah.
- All right, so we ran into a problem. I wanna film a scene right
there next to that building but apparently film permits
here are really expensive for that building. But if you get a film
permit for right over here, it's like a quarter of the price. So you might think that this
is the expensive lens to rent, but it's still less than a film permit. So a little hack for you guys out there. Can you tell us about this lens? - It's a huge lens.
- Yeah. - One of the only lenses I
know which has 1000 millimeter. - We got our focus here and
aperture control right here from this Hi 5. And let's see the zoom here. Whoa, okay.
- It's... - Signal, as well as control
and everything comes here. You see them all the way over there? - So we are still having
three outta four bars. - Okay, this is gonna work, guys. This is like one of the most important action sequences in our film. It's gonna be where Dylan
and I fight each other. (grunting)
(yelling) (laughs)
- I guess there is no take two for you.
- And cut. - You had some people thinking, they almost called the police here, but. (laughs) - Okay, we should get outta here quickly. - Yeah.
- What do you think of our performance there? - I think you nailed it. You're a natural. - This place is actually
publicly full with people and the camera is so far away
that no one has any idea. - What did you do?
- What do you guys think? - You are very dirty.
(laughs) - Can I see play back on that? (laughs) These kids just walking
fast, like, what the hell? There's a lady over here, like, you see all the dust coming off. Oh my god, yes. Then you're just over
there smiling, like... We got the scene guys, we did it. - We are here actually
at Schloss Schönbrunn It's a beautiful place
in the heart of Vienna. With us, Alouis, he's a local First AC and he was also beta test of the Hi 5, so he knows the system very well. - I see that there's a lot of ACs that are glued to the monitor so they're just tied in there. And I also heard of ACs that only look at the subject directly. So where do you sit in that? - Everyone who is asking me what's the right way to pull focus, I always tell them there is no right and no wrong way to pull focus. If it's sharp, then it's the right way. I do that for about 10 years now. - Oh, okay.
- And I started with 35 millimeters, so I'm used to measure focus by my eye. But then after a while was more
like into using the monitor. - And these are SDI cables,
so they come out of here. - Yeah.
- And wow. I'm just not used to seeing that. Hello, nice horse. - Hirose 4, we have here. - Oh wait, is that how you say it, Hirose? - Hirose, yes. - I think I kept calling it Hiroshi. - Oh really, okay.
- Oh my god, how many times have I went to a rental house and been like, "can I
get a four pin Hiroshi?" - Sounds a little bit Asian, man. - Yeah, I know, right? They're like, "man, you're so Asian." - But maybe I'm wrong, I don't know. - Funny thing is, the Germans say Hirose. - Hirose?
- Hirose. - Oh my god, I used to say vignetting. You know vignetting in the lens. I used to say Vigneti. - Oh it's, but it's actually
called Vignet here in Germany. - Really?
- Yeah. - Oh.
- So it's not that far away from the... - Great, now I feel like an idiot twice. (laughs) So from there we went to the next location in the beautiful countryside and that's when I realized
there was a slight mix up when Arri asked me to go there to work, they didn't mean make a movie, they had something else for me. What happens if you crash into this? - It's not possible. - Hit a pillar. It just said dead man, that doesn't sound like
the thing I wanna see right before we...
- Because they're on the left and the right side standing something stuff.
- Ah. Oh, so we're the dead men?
- Yeah. - Dead man, though.
- Yeah, because I... - Why don't they call it safe man? - We have to go up.
- Whoa, we're going up, okay. - Yeah, now if you can
drive to it by yourself. - You feel very powerful in here, huh? I feel like a king.
- It's comfortable. - Bring me some breakfast. - You can go very high. - Oh my god, this is
so close to everything. Have you seen that YouTube video where a forklift crashes into one of these and then they all fall like dominoes? - Yeah, yeah, I saw it. - So is that why it said
that's why it said dead man on the screen right here? (laughs) Okay, where are we going? Let's keep going. - Will you go to the next level, too? - Yeah, yeah, yeah, yeah. - Dylan, do you trust me
with your life right now? - Ugh.
- Can we still move forward? - Yeah.
- We can? - Yeah. And you can move it. - How fast can this go? Max speed. All right, Autobahn time. Well, okay, that's scary. How do you feel Dylan?
- No, I was just thinking if anything happens, I'm
just gonna have to like, grab onto this.
- Just grab that. - Get the fork in this pallet. - Is there sensors on the fork? - No. - There's no sensors on the fork. - There's no sensor on. - Okay, so this is where
I can really mess up. You told me that it was
impossible to make a mistake. Ah... Oh, okay.
- That was fast. - That was fast. If we were to go forward
and then as fast as possible and then stop, will this fall over? - No, yeah.
- It will. - Why, you wanna try it, again? (laughs) - No, that's we're fine. Can we get down? (crashing)
- Oh my god. - We will do this for 30
times to guarantee that. - What did that light ever do to you? Did it bully you as a child or? (laughs) - Just according to the standard. - Oh okay.
- For the professional. - Oh, I see.
- Illuminator. It's my job.
- Okay, I thought maybe. - To damage the product. - You're a little angry or something. - No. This pin, if this fails, the second suspension
protects it from falling down. Nothing falls to the ground. - Shouldn't break either and should work as it's
supposed to be afterwards. (crashing) - Oh my gosh. You make me throw a hammer
into a camera and now this. - In the cellar in the
basement, we have some freezers. So we are also testing the fixtures under very low, low temperatures. - I'm just sorry, I was just distracted
by your beautiful beard. - Still look good?
- It looks good, yeah. - So do we have the time? So, otherwise, I would.
- No, yeah. - Okay that's... I like to be precise and clean like we like our fixtures, you know. So we're always, we are always precise. - Open door. Oh that's a cool door. - Little bit like Star Wars.
- Yeah. Oh, look at this. That's right, I got a PhD in doctoring. I see the LED floor is the biggest portion
of the manufacturing now. Oh my god, look at all these 360s. Is this like the gift bag? Everyone on the way out,
guests just pick up one. This is a gaffer's dream right here. So if you've ever shot on an
Arri light, then it was here. This is his home.
- Yep. It has definitely left this facility. A lighting production started in Munich, but then we got World War II and then they needed to move
the premises and everything and then they found this premises here. - [Gene] Oh, I see all the
different colors in there. Orbiter emitters?
- Yeah. - Yeah, it's a six color engine. This spectral power distribution gives you a more natural light. If you want to color grade afterwards, having information in each
color makes a big difference. - Different ways to
measure accuracy of lights. Is there something that you guys look at to try to make sure that the
lights are very well even? - TLCI is of course a
very important one for us. We also test for regular
CRI with the eight samples or the extender CRI, CQS, TM-3015. Doesn't matter what type of
line measurement you're using, at the end, an Arri fixture has to perform the best way with all these
different measurements. This is 18,000 watt, pure HMI
discharge lamp light power. If you hold a cigarette
or a piece of paper in front of the fixture,
you could light it. - Whenever you turn on a light, you're supposed to yell, "striking." Is this why people say that? Someone was just like doing something and then they just turned it on. - This is a UV glass and we have that for all HMI fixtures to lower at least the UV radiation. There's a safety switch inside. So if I do this, then it
will switch off immediately. - Ah. It's kind of like the
thing where you attach the key to the jet ski on your thing. - Yep.
- So if you fly off then it'll shut off.
- Yeah. We have the Arri photometrics.
- Yup. - If we are looking for Orbiter and go into a model and
you see all the data, you see the illuminance at that distance, you will see the beam diameter. You can adjust it to your own needs. So look at the Arri Photometrics
app is always worthwhile. - And there's still
tungsten being made here. - Yeah.
- One of the things I really like about the Orbiter is it's this new tool that's fancy, it's got all these features in it, but you still can say,
"oh, I know how to light "with a 2K and gels."
- Yep. - So you can say, "okay, make it look "like a 2K tungsten with these gels "or make it look like
an HMI with these gels." - How we see it, we manufacturers need to
adapt to the language, to the jargon of the industry
and to the film industry and to the methodologies
in the film industry. - You are now at the
dentist office for lenses. - So let's say I was flying
a signature prime on a drone and accidentally crashed. I never crashed drone
though, but if I did, what would be the first
thing you would do with it? - [Technician] Something
happened to the lens during your drone crash.
- Ah, okay. So what are you looking at here? - See here this circle.
- Yeah. - [Technician] And if you go out of focus, you can see that it's not symmetric to have a mirror in one direction. So there was something
that happened to the lens. Maybe it's bent.
- Would you say this is fairly minor issues or? - No, it's out of specification. Here you also can see the numbers. This is the contrast. It should be above 80 or 90%, so over here you have 50% contrast. Lines, white and black are blurring. - Can you have good
resolution with low contrast? - It's possible. You can have a very high
resolution and very low contrast. That's very often with all the lenses because of stray light. The coatings on all the
lenses, they are not as good. Or you can have also low contrast on lenses you are using
for image processing. And so a machine is processing the image, so we don't need a high contrast. But that's a different application. But in cinema we need high resolution and also high contrast. - Is it possible to have high
contrast but low resolution? - It is possible. And this is a little
bit, how should I say, on cheaper lenses. And the human eye sees
contrast as sharpness. So if you have a lens with a high contrast and low resolution, maybe
it's a very cheap lens. It gives you the impression,
"oh, it's very good." But if you zoom in Photoshop, you see, "oh, I don't have resolution,
I don't see the details. "But first of all I
thought it's a good lens, "but it has no details." If you have too much contrast,
especially on a portrait lens and you see with high contrast
every wrinkle in the face, maybe you're saying how
that's too much contrast. I like the resolution and
the contrast not that much. They're not using a soft
filter for portrait. - Right.
- But you are starting with a very good lens
and then you find a way to adapt the lens to your applications. Now we are in a clean
room, which is controlled and this is a clean bench, which is just a higher
level of a clean room. - [Gene] This would be a good place to be when you have allergies.
- Oh yeah, it's the best place, yeah. (laughs) - Okay, I'm gonna come here
in the spring and hang out. The sensor is most important
part of the camera. - Of course.
- Important not to have a finger smudge on there.
- Yes. - When the client gets.
- It sometimes happens. - This is how we get the mini LF sensors, one of these wafers about
10,000 euro or 12,000 euro. So if you have this whole thing together, it's about 25 of these
little slices is one knot. - Wow.
- So that's what turns into a LF sensor.
- Yes. - There are some who are defective. Basically what the,
what this machine does, it's really pre-measuring so that we know which one we really can build and which one just doesn't work. - [Gene] I see, so you check every sensor before you throw it in
the camera for accuracy. - Basically, if you
like, if you bake a cake, it's hard to make it always the same, we just only take the best ones, yeah. - There's so much more that we got to do and people we got to meet. But I really appreciate everybody's time to share their knowledge with me. Like Florian, who is part of Arri Academy. There, you can go and learn everything you need to
know about the camera to be proficient with Arri stuff. And then this is Mark who basically knows everything there is to know
about the new Arri Alexa 35. I had to find out where he lives. I kicked out his door
and forced him to explain a bunch of stuff to me
for hours and hours. So Mark, I really appreciate
you explaining all this to me and teaching me some very valuable skills. (snaps) Whoa, I need to learn how to do that. (snaps) Will Arri ever put out a budget camera so I can start vlogging
on an Alexa Mini mini? - You know what we talk about that often, but we're really, really good at making really cool, high end cameras. I'm not sure we're good at
making something less expensive. - You can't just take this technology and put it in like a GoPro capsule. - No.
- So I could put on my helmet when I go snowboarding? - No, see the thing is,
this little puppy here, the actual electronic board
that's 20 watts already. There's no free lunch. So if you want the best image, it's gonna cost you some
wattage, some size, some weight. And that's what we're
really, really good at doing. - Most important question, how
do you pronounce the brand? - Well, I, my rule is I
always mispronounce things like the natives do. So in Germany it's Arri.
- Mm hmm. - Because it's Arnold
& Richter Cine Technik, that's the official name of the company. - Okay.
- Arri. And in America, I would call it Arri. - Now what we just need is a very long walk off into the sunset shot. But I need it to be really, really long. - Let's do it. - [Gene] Oh my god, the back
of my shirt is very dirty. - [Dylan] I think the sunset's
actually the other way. We're walking away from it right now. - [Gene] Oh shoot. - [Dylan] But we already started, though. - We've already committed.
- Yeah. - We've gone too far.
- Yeah. - [Gene] I mean, look,
if I zoom out the shot, I'm all the way out here. Will we get back to the hotel if we just keep walking forward? - What time is it?
- Oh, it's a horse. - [Gene] Oh my god, this
horse is ruining this shot. How dare you.
- You know that we make sausage
out of horses in Vienna? - What?
- Really? - Yeah.
- Whoa. - [Gene] Wait, how far out are we? Oh okay. Okay, this lens is pretty insane. Okay, so if you look at the shot, the guys that look like
they're right here, basically, they're actually pretty far behind. - [Dylan] Yeah, they look
like they're right behind us. - [Gene] Right, but then we look back. Anyways, how much longer
until the sun sets? Didn't we schedule this for like? - [Dylan] I think we still
got like three hours left. - [Technician] The sunset
today is at 9:30 PM. - [Gene] 9:30 PM? So why do we have such good range on this wireless Hi 5? - [Technician] So we actually, we attached the 2.4 ghz frequency hopping module. - Yeah.
- And this should give us range literally until the sunset. - There.
- Oh no, we lost it. - Right at the...
- We lost it. - Right at a good time to lose. - [Gene] Have full camera control, though. I can run stop it. Hold on, let's see if
I can get it, no link. We're officially lost on
our video transmission. But the Hi 5 has no problem. So if it's says two to
three bars, we're good. So generally speaking, the focus unit will outperform
any video transmitter. - Absolutely.
- I would like to try this with the DGI transmitter
and see how that one does, 'cause that does give us
some pretty crazy range. - You know what, we do this
in US, with the 90 mhz. - Oh.
- And the DTI transmitter. Next shot we do, we plan it. - I'll get permits in Mexico
and we'll shoot it in the US. Now we have to walk all the way back. - Yeah.
(laughs) Let's do it. - Look at this though, horses... - We're not allowed to film this. - Oh, we're not allowed to film. - It's beyond our budget.
- Oh, okay, okay. We'll film that though.
- No, but, it's also beyond our budget.
- Okay. Honestly, I think this
movie's gonna be great. - Yeah.
- And I think the only problem with it is that we don't set it up for a sequel. We have to so that the
audience wants more, we can make a lot more money. A cliff hanger for a second, like this is too nice of an ending. Say something mean to me quickly. - Your hair looks stupid.
- What do you mean? - [Dylan] Looks like a dumb face. - [Gene] Come here you son of a... (grunting)
