ARRI is proud to announce ALEXA 35 – the new native 4K Super 35 camera that elevates digital cinematography to unprecedented heights.
The new Orbiter Fresnel Lens creates a precise light spot with a soft single shadow, and it delivers true Fresnel output with a real Gaussian field of light.
ALEXA Mini LF SUP 7.1.1 has the same features as the previous release, but additionally supports the new Codex Compact Drive 2TB, Codex Compact Drives 1TB that were updated for new firmware in ALEXA 35, and all Compact Drives 1TB that are shipped following the release of this SUP.
ARRI is releasing a second generation of its TRINITY and ARTEMIS camera stabilizers. The new modular system has been redesigned down to the smallest detail and equips filmmakers with unprecedented visual dexterity and progress the language of cinema.
Cinematographer Vittorio Omodei Zorini talks about creating the psychedelic atmosphere of Amazon’s crime series “Bang Bang Baby” with the ALEXA Mini LF and ARRI lighting on set in Italy.
At the 75th Festival de Cannes, the vast majority of participating films were equipped with ARRI technology, including Palme d’Or winner “Triangle of Sadness.” ARRI also enjoyed providing world-class equipment and hosting inspiring events at the Croisette.
DP Thomas Hardmeier and gaffer Laurent Héritier talk about their experience with the ALEXA LF, ALEXA Mini LF, ARRI Signature Primes, and SkyPanels on Jean-Pierre Jeunet’s “Bigbug” for Netflix.
Gaffer Stéphane Bourgoin talks about his latest projects, such as “The Last Duel” and “Emily in Paris,” shot in France and lit with ARRI lights.
DP Hidetoshi Shinomiya and Lighting Director Daiki Takai JSL relied on the stability and versatility of ARRI equipment to capture the genuine and raw emotions of the characters from the Oscar®-winning film “Drive My Car.”
For the state-of-the-art Sportsnet Studios, lighting director James Downey chose ARRI SkyPanels due to their expertise in illuminating virtual reality, augmented reality, and 3D spaces.
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