LMB-6 Anamorphic and Spherical Mattes
Succeeding the classic LMB-4A, the LMB-6 offers all the innovations of the successful LMB-25 to larger-sized filters, up to 6.6" x 6.6". We offer anamorphic or spherical mattes for the LMB-6 to eliminate flares.
Eyepiece Leveler EL-3
The Viewfinder Extension Bracket and Eyepiece Leveler EL-3 allow the operator to position the viewfinder farther back along the body of the camera for a more convenient position to operate from.
Using the Tilting Feature of the Studio Matte Box SMB-2
The Studio Matte Box SMB-2 is optimized for 4" x 5.65" filters positioned either vertically or horizontally. It is well suited to most prime lenses and smaller zooms. Watch how the SMB-2's tilting feature, allows the user to eliminate "ghosting" or flare reflections.
Venice 2016: interview with Davide Manca
Cinematographer Davide Manca discusses how he used the ALEXA XT and ARRI lights to pursue a soft, colorful look and fluid, handheld camerawork on director Roan Johnson’s film PIUMA (FEATHER). Photos by Stefano Montesi.
Venice 2016: interview with Vincent Biron
Vincent Biron, director and cinematographer of PRANK, speaks with ARRI about working with the AMIRA camera for its ergonomic design and suitability for a fast, flexible and responsive shooting style.
Venice 2016: interview with Manuel Alberto Claro DFF
Cinematographer Manuel Alberto Claro DFF shares his experiences shooting Amat Escalante’s film THE UNTAMED with the director’s own ALEXA Mini, a camera Claro quickly took a shine to.
Eindrücke von ARRI auf dem Deauville American Film Festival 2016
vom 2. bis 11. September 2016
IBC-Video: Ang Lee sieht ARRI-TRINITY
Curt O. Schaller, Produktmanager Camera Stabilizer Systems bei ARRI, demonstriert vor Regisseur Ang Lee das neue ARRI-TRINITY.
IBC 2016: Zukunftssicher
Wie ARRI-Vorstand Dr. Jörg Pohlman auf sich ständig verändernde Marktbedingungen reagiert.