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.
Gianfranco Rosi über die AMIRA
Auf einer Pressekonferenz bei der Berlinale 2016 erläuterte Gianfranco Rosi, Gewinner des Goldenen Bären mit FUOCOAMMARE, wie wichtig die ARRI AMIRA für diese kraftvolle Dokumentation über die europäische Flüchtlingskrise war.
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.
THIS IS ENGLAND '90 BTS -- using AMIRA
Cinematographer Stuart Bentley discusses working documentary-style with the ARRI AMIRA camera on THIS IS ENGLAND '90, the final installment of director Shane Meadows' award-winning THIS IS ENGLAND series.
SUNSET SONG, captured with ALEXA XT and 65 mm film
On Terence Davies' epic film SUNSET SONG, cinematographer Michael McDonough ASC utilized an ALEXA XT Studio with ARRI/ZEISS Master Anamorphic lenses to capture studio scenes in ARRIRAW, and an ARRIFLEX 765 to shoot exteriors on 65 mm film.
Gaffer Mark Stuen takes ARRI M40 and M90 M-Series lights to remote mountain locations for the night-skiing short film AFTERGLOW from Sweetgrass Productions. Shot by Mike Brown, Nick Wolcott and Zac Ramras, the film was directed by Nick Waggoner and Brown.