Trailer for LOST IN HONG KONG, captured with ALEXA and Master Anamorphics
The phenomenally successful Chinese film LOST IN HONG KONG broke the domestic 2D box office record within 10 days of its release. Directed by Zheng Xu, it was shot by cinematographer Xiaofei Song, who chose to use ARRI ALEXA cameras and Master Anamorphic lenses.
IBC 2015: ARRI ALEXA SXT
ALEXA product manager Marc Shipman-Mueller explains what can be expected from the next generation of ALEXA cameras.
IBC 2015: ARRI AMIRA
AMIRA product manager Markus Duerr explains the latest camera updates, including new codecs, improved audio options and an intervalometer function for time lapse sequences.
IBC 2015: ARRI SkyPanel accessories
Senior lighting product manager Mike Wagner introduces the new range of accessories for the SkyPanel family of LED soft lights.
IBC 2015: PCA | Electronic Control System
Hendrik Voss, product manager for ARRI’s Electronic Control System, introduces a new lens motor, a monitor mount for the WCU-4 handset and software updates for existing products.
IBC 2015: Cine lenses
ARRI cine lenses product manager Thorsten Meywald presents the Master Anamorphic Flare Sets and the Ultra Wide Zoom.
IBC 2015: High-Speed Ballasts
Product manager Florian Bloch gives an overview of ARRI’s high-speed ballasts, which allow ARRI discharge lamps to be used for high frame rate filming.
THE REVENANT trailer
Cinematographer Emmanuel Lubezki ASC, AMC used ALEXA 65 cameras and Prime 65 lenses to shoot around a quarter of THE REVENANT, directed by Alejandro González Iñárritu.
The best cameras for the best images
ARRI offers a range of different camera models, providing the perfect solution for any production type or shot requirement. All of the cameras share ARRI’s unique combination of the highest image quality with the most efficient workflows on set and in post, which sets a gold standard for the industry.