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.
Trailer for JOHN WICK II, shot with Master Anamorphics JOHN WICK: CHAPTER 2 re-teamed star Keanu Reeves and director Chad Stahelski, and brought in cinematographer Dan Laustsen DFF, who combined Master Anamorphic lenses with ALEXA XT on the film.
Anthony Dod Mantle ASC, BSC, DFF discusses working with ARRI cameras 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."
ALEXA Anamorphic Creates Poetic Look Captured on ALEXA in anamorphic by DP James Laxton, MOONLIGHT directed by Barry Jenkins, is one of the most critically acclaimed movies of the year.
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."
Anthony Dod Mantle ASC, BSC, DFF discusses working with the ARRI ALEXA Mini 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."
Anthony Dod Mantle ASC, BSC, DFF discusses working with ALEXA 65 lenses and different locations "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."
Anthony Dod Mantle ASC, BSC, DFF discusses working with the ALEXA 65 system "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."
Experience ARRI at Cannes 2016 Highlights from ARRI’s presence at the 69th Cannes Film Festival.
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