IBC 2017: ARRI ALEXA Mini with SUP 5.0 Michael Jonas, Product Manager Camera Systems, introduces the main features of the latest Software Update Package SUP 5.0 for ALEXA Mini.
Camera Showreel Fall 2017
Bill Bennett ASC on ARRI LDS Using the ARRI Lens Data System creates an immediate benefit on set. See here the advantages of LDS from a users point of view.
NAB 2017: New Accessories for ALEXA Mini ARRI's Jeanfre Fachon discusses new accessories for ALEXA Mini: Compact Bridgeplate CBP-1, Rear Accessory Bracket and more.
NAB 2017: ALEXA Mini Software Update Package 5.0 ARRI's Lars Hartmann talks about enhancements for the ALEXA Mini with the new SUP 5.0 including WCU-4 integration, wireless lens file transfer, wireless playback control, improved user setups, multi-camera sync, support of 1.3x anamorphic lenses, easier and more stable timecode synchronization, Chinese user interface and more.
NAB 2017: ARRI Look Library From Software Update Package (SUP) 5.0 for ALEXA Mini and AMIRA cameras, ARRI is introducing an exciting new way to implement high-quality looks. The ARRI Look Library puts on-set look management within the reach of all productions, not just those with the time and budget to develop bespoke looks prior to shooting. Offering 87 looks in three intensities, the ARRI Look Library caters to a huge variety of different shooting scenarios.
Camerimage 2016: Mattias Rudh FSF Working entirely with the ALEXA Mini, cinematographer Mattias Rudh FSF created an eerie, deep-focus look for the Jamie XX music video GOSH, directed by Romain Gavras. He discussed his visual approach with ARRI at Camerimage 2016.
Camerimage 2016: David Procter London-based DP David Procter discusses shooting with ALEXA Mini on the music video for the DJ Shadow track NOBODY SPEAK, featuring Run the Jewels.
Anthony Dod Mantle ASC, BSC, DFF discusses MultiFormat on Oliver Stone’s thriller SNOWDEN "I was shooting in natural light in Tong Lau, a very poor area in Hong Kong that’s like an organic painting…there’s so much detail, so many little things you can see, and if you hold the camera and don’t whizz around and stress and edit too fast, but just take your time and let the audience slowly feel this place – it’s like licking the windowsills of these slum buildings; it’s just incredible."