ARRI Cameras

On “The Night of the 12th,” cinematographer Patrick Ghiringhelli relied on the ALEXA Mini LF and ARRI Master Anamorphic lenses.

Cinematographer K.K. Senthil Kumar ISC reports on his visual choices and challenges on the blockbuster Telugu-language action drama movie “RRR,” directed by S.S. Rajamouli.

The 2023 Oscar winners in Best Picture, Best Cinematography, Best International Feature, and other categories put their trust in ARRI technology.

Based on the terrorist attacks in Paris 2015, the powerful thriller “November” was captured by DP Nicolas Noir AFC with the ALEXA Mini LF and ARRI SkyPanels.

DP Batara Goempar ICS shoots action-packed scenes and heart-pounding stunts with the lightweight and visually gripping ARRI large-format system.

Cinematographer Benedict Spence recalls shooting the fast-paced BBC/AMC hospital drama series with ARRI’s flagship large-format camera during the pandemic.

The inspiring short film “Grace” was accomplished by DP Dennis Zanatta ABC in harsh environments in the New Mexico desert with ALEXA 35, Signature Prime lenses, and ARRI Orbiter.

Key grip Gary Hymns tells ARRI how he, cinematographer Sir Roger Deakins CBE, ASC, BSC, and the camera and grip crew worked with MAXIMA on Sam Mendes’ new film “Empire of Light.”

Cinematographer Arvind Kashyap speaks to ARRI about working in large format on the challenging location shoot of director Rishab Shetty’s action thriller “Kantara.”