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THE REVENANT: 'Director of Photography' featurette A short testament to the input of cinematographer Emmanuel Lubezki ASC, AMC in creating the immersive look and feel of Alejandro Iñárritu's film THE REVENANT, captured with ALEXA XT, ALEXA M and ALEXA 65 cameras, combined with ARRI lenses.
THE REVENANT: A World Unseen Behind the scenes on director Alejandro Iñárritu's multi-award-winning film THE REVENANT, shot by Emmanuel Lubezki ASC, AMC with ALEXA XT and ALEXA M cameras equipped with Master Prime lenses, as well as the ALEXA 65 large-format camera and Prime 65 lenses.
Berlinale 2016: Jessica Lee Gagné Cinematographer Jessica Lee Gagné discusses her work with ARRICAM LT 35 mm cameras and ARRI/ZEISS Master Prime lenses on director Denis Côté’s feature film BORIS SANS BÉATRICE (BORIS WITHOUT BEATRICE).
Berlinale 2016: Emre Erkmen Cinematographer Emre Erkmen explains how he combined the ARRI ALEXA camera with ARRI/ZEISS Master Anamorphic lenses on the film AUF EINMAL (ALL OF A SUDDEN), a German-Dutch-French co-production directed by Asli Ozge.
Teaser trailer for FIRE AT SEA, captured with AMIRA Gianfranco Rosi won the Golden Bear at Berlinale 2016 for his documentary feature film FIRE AT SEA, which was captured with AMIRA and examines the European migrant crisis.
FIRE AT SEA press conference At a Berlinale 2016 press conference Gianfranco Rosi, who won the Golden Bear for FIRE AT SEA, discusses how important the ARRI AMIRA was on this powerful documentary about the European migrant crisis.
Impressions from the ARRI Lounge at Berlinale 2016 Impressions from the ARRI Lounge at Berlinale 2016 & Quotes by Tom Tykwer and Ben Verbong
ARRI Opening Night at Berlinale 2016 The Executive Board of ARRI AG give an interview about ARRI's presence at the Sony Center.
Trailer for CAROL, shot with the ARRIFLEX 416 Directed by Todd Haynes, CAROL was shot in the Super 16 format by cinematographer Ed Lachman ASC, who combined the ARRIFLEX 416 with an ARRI/ZEISS Master Zoom.
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