65 mm reborn. The new large-format system.
The best just got better.
The family just got bigger. And smaller.
Go anywhere, shoot anything.
The largest matched range of modern cine primes and zooms, as well as top quality filters.
Any camera. Any lens.
For most professional cameras on the market.
Creativity in motion.
The most complete camera systems ever built.
Soft Lighting | Redefined
Cut. Shape. Focus. Tune.
More light, less work
State-of-the-art, long-life electronic ballasts for optimum image quality
High performance and quality LED luminaires
Fresnel and open-face fixtures ranging from 125 to 18,000 W
Classic Fresnel fixtures ranging from 150 to 24,000 W
Tungsten, Daylight and LED kits fully equipped with all vital accessories backed in robust and reliable cases.
Professional Lighting Accessories - cables, grip, stands and much more
Turnkey solutions for TV studios worldwide
The most extensive range of innovative lighting products.
Solutions for motion picture archives.
ARRI Rental - We've got you covered.
The best support your vision can get.
Fully digital 3D surgical microscope.
Professional filmmaking for medical media productions.
A new era in surgical imaging.
DP Matias Boucard shoots on location with ARRI/ZEISS Master Anamorphic lenses and an ALEXA XR camera for the Franco-Spanish thriller DON'T GROW UP.
Dailies colorist Adrian DeLude details his experience on X-MEN: DAYS OF FUTURE, captured on ALEXA Ms and XT in ARRIRAW.
ARRI / ZEISS Master Anamorphic lenses and the ALEXA XT give short film DOMINO FALLING a cinematic look.
ARRI once again hosts its popular event at the festival, where the vast majority of films in the official selection used ARRI cameras or lenses.
Cinematographer Newton Thomas Sigel, ASC, shoots X-MEN: DAYS OF FUTURE PAST with ALEXA M and ALEXA XT cameras.
Pau Esteve Birba, who won this year's Best Cinematography Goya Award for the Spanish film CANNIBAL, discusses shooting anamorphic with ALEXA and ARRIRAW.