Filmmakers from all over the world share the excitement of their first experiences with the new ARRI ALEXA 35.
For more than a century of creativity and technology, the company received the Philo T. Farnsworth Corporate Achievement Award.
Unparalleled precision in every detail. Crisp projection of a light spot, immaculate gobo projection and precise shutter cuts. Entirely even field without color aberration.
The versatile ARRI RIA‑1 Radio Interface Adapter is out now and available to order! Also launched are the RED and SONY camera control licenses for the ARRI Hi‑5 hand unit, as well as the Focusbug license.
Netflix’s “1899” demonstrates the huge creative potential that LED volumes can unleash for filmmakers. DP Nik Summerer shares his experiences of collaborating with ARRI Solutions on an effective virtual production design.
Shooting a French miniseries about the Notre-Dame de Paris fire, cinematographer Jean-Max Bernard used ARRI Signature Primes, the ALEXA Mini LF, and SkyPanel lights to enhance the firefighters’ epic.
At this year’s EnergaCamerimage, ARRI showcased tools and sponsored various educational and social offerings. ARRI cameras and lenses were also behind the top award-winning films, including the Gold, Silver, and Bronze Frog.
As one of the first UK productions, the music video “Breathe” was captured with the ALEXA 35 along with ARRI Orbiter and SkyPanel lights. Director Adam Young and DP Jamie Haigherty from Paper Sky Films talked to us about their experiences with the latest ARRI technology.
Shot with the ALEXA Mini LF, Signature Primes, and ARRI lights, Netflix’s feature film “Robbing Mussolini” is structured into four aesthetic worlds. ARRI talked to DP Gian Filippo Corticelli about his experiences on set in Italy and colorist Andrea Baracca about the finishing touches of the film.
Using ARRI Signature Prime lenses along with ARRI SkyPanel, Orbiter, and ARRIMAX lights, cinematographer Italo Petriccione captured “The Return of Casanova,” a story with changing time periods and color designs.
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