ARRI Cameras

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.”

DP Gyeong Hyeon Hwang worked with ALEXA cameras and ARRI lenses to find the perfect balance between realism and melodrama for the Singaporean-Korean film “Ajoomma,” directed by Shuming He.

Indonesian DP Batara Goempar ICS shares how he brought out the subtle emotions and calibrated nuances behind “Before, Now & Then” through immersive images captured with the ALEXA LF and Signature Primes.

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.