Berlinale 2016: Friede Clausz
Cinematographer Friede Clausz discusses working with the ARRI ALEXA and compact ARRI/ZEISS Ultra Prime lenses on 24 WEEKS, director Anne Zohra Berrached’s drama about the moral dilemmas of abortion.
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.