Cameras

Hailed as an Oscar favorite, Phedon Papamichael’s “Ford v Ferrari” has it all: drama, high-speed car races and its all shot with the ARRI ALEXA LF.

For producer Tom Zickler and director Martin Schreier, their new film “Traumfabrik” (“Dream Factory”) is a real dream of a project. In an interview they talk about this complex film production—and about their collaboration with ARRI.

For the second year in a row, ARRI created a professional exchange platform to discuss important trends affecting the media and broadcast industry complete with expert equipment and solutions.

China’s second highest-grossing release in history earned $700 million at the worldwide box office and is currently the third biggest global release of 2019. Still under the radar in many parts of the world, “The Wandering Earth,” shot and lit with ARRI equipment, is now available on Netflix.

At the Festival de Cannes, the vast majority of winning and participating productions relied on ARRI equipment. On the Croisette, ARRI was present at the event and behind the scenes.

The Italian feature “Rock ‘n’ Roll Robot” was shot with the ALEXA Mini camera, Ultra Primes lenses, and lighting equipment from ARRI. DP Federico Annicchiarico AIC-Imago and his team talk about the filming.

Chilean cinematographer and ASC Heritage Award nominee, Andrés Gallegos, shares his experience at the helm of the short film “Shoe Shiner,” shot with ARRI ALEXA Studio camera.

As the one of the very first users of TRINITY, Junior Lucano is carving out a niche as a “go-to” ARRI TRINITY operator in China. So far, he has completed four films. One of his most memorable projects to date, “Hidden Man,” allowed him to showcase his skills with the TRINITY stabilization rig.

“Drunk History” achieves many looks to transport viewers to a different time and place for each story.