ARRI AMIRA demo in Argentina AMIRA was put to the test in Buenos Aires capturing a key soccer game for Club Defensa y Justicia. Production needed a versatile camera with an efficient workflow, given the finished project would screen six hours after the shoot wrapped for a presentation at Broadcast Video Solutions.
AMIRA NYC shoot with Buddy Squires, ASC Buddy Squires, ASC is an Oscar-nominated & Emmy-winning Director of Photography. He took the ARRI AMIRA camera out on a spontaneous documentary shoot following skateboarder/musician Adam Crigler. Squires went handheld to capture much of the action: from bright daylight exteriors in the streets to low light photography in small quarters. Squires is best known for his work on theatrical documentaries and TV including SALINGER, THE CENTRAL PARK FIVE, THE CIVIL WAR, JAZZ, ETHEL and more. Among his credits are seven Oscar-nominated films, two Academy Award winners, 28 Emmy-nominated productions and 10 Emmy Award winners.
MY FIRST INTERNATIONAL, captured with AMIRA DP Johann Perry captures with AMIRA on an inspiring documentary short about a Ghanaian youth soccer team, produced as part of the Vodafone FIRSTS campaign.
MALEFICENT: Behind the scenes Watch the action unfold in front of the ALEXA cameras provided by Panavision London on Disney's MALEFICENT.
THE FAULT IN OUR STARS trailer DP Ben Richardson shot the moving drama with the ALEXA XT in ARRIRAW and ARRI/ZEISS Master Prime lenses from ARRI CSC.
DP André Turpin on the Master Anamorphics DP André Turpin speaks to ARRI at the 2014 Cannes Film Festival about the short film PRENDS MOI, which he directed and lensed with ARRI/ZEISS Master Anamorphic lenses. This interview was captured with AMIRA, ARRI's documentary-style camera.
X-MEN DAYS OF FUTURE PAST behind the scenes featurette Shot on ALEXA Ms in stereoscopic with ALEXA XTs in ARRIRAW by Newton Thomas Sigel, ASC.
ALEXA NAB 2014 Showreel ARRIRAW for all Budgets: Feature Films, Anamorphic , Visual Effects
Crystel Fournier, AFC, at Cannes 2014 DP Crystel Fournier, AFC, speaks to ARRI at the 2014 Cannes Film Festival about shooting GIRLHOOD in ProRes 2K with an ALEXA Plus 4:3 and Hawk anamorphic lenses. This interview was captured with AMIRA, ARRI’s documentary-style camera.