Film & Digital Times focuses on HUGO

DP Robert Richardson ASC, stereographer Demetri Portelli and first camera assistant Gregor Tavenner talk about the 3D artistry of HUGO.

02 FEB 12

EXTREMELY LOUD AND INCREDIBLY CLOSE

Colorist Stefan Sonnenfeld on working with Chris Menges, BSC, ASC, and grading Stephan Daldry's film, which was shot on the ARRI ALEXA.

02 FEB 12

ARRI lighting on WARHORSE

Gaffer Eddie Knight discusses mud, Spielberg and how to light a horse.

25 JAN 12

Congratulations to Oscar nominees

Films shot using ARRI equipment feature heavily on the list of nominations for the 84th Academy Awards, which will be held in Hollywood on February 26th.

23 JAN 12

Shooting HELLO I MUST BE GOING

Director Todd Louiso and cinematographer Julie Kirkwood chose the ARRI ALEXA as the perfect tool to shoot their new indie feature.

16 JAN 12

Golden Globes salute movies and TV

Many Golden Globe winners relied on ARRI cameras and lighting. Click for the list of winners.

05 SEP 11

A window to history

ARRISCAN archive tools give new life to MANIA, a forgotten classic from the Polish National Film Archive.

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ALEXA most rented camera in TELEVISUAL survey

Oscar for ARRI and Fraunhofer Engineers

ALEXA shoots Norwegian TV promo

Roger Deakins ASC, BSC interview on IN TIME

CAMERON | PACE Group receives first ALEXA Ms

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Quote of the Week

When I color film it's the best feeling in the world; when I color ALEXA, it's just like I'm coloring film.

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Colorist Stefan Sonnenfeld

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Behind the scenes on EXTREMELY LOUD AND INCREDIBLY CLOSE

Go behind the scenes of this touching story about a nine-year-old inventor (Thomas Horne), who searches New York City for the lock that matches a mysterious key left behind by his father (Tom Hanks). Directed by Stephen Daldry with cinematographer Chris Menges, BSC, ASC, EXTREMELY LOUD AND INCREDIBLY CLOSE was shot with ALEXA cameras from ARRI CSC in ARRIRAW format using Codex recorders. Footage courtesy of Warner Bros.