ARRI Cameras

Cinematographer Alexandre Bartholo reveals the challenges of shooting a multi-camera baking battle and how his team masterfully orchestrated the show with an arsenal of ARRI camera and lighting systems.

Korean DP Jin Ho Jung took on the challenge of capturing imagery that seamlessly combined magical visuals with a heartfelt musical drama through the ALEXA Mini LF’s high dynamic range and wide color gamut.

Cinematographer João Pedro Plácido aip talks to ARRI about choosing a Signature look for director Jeanne Waltz’s “The Wind Whistling in the Cranes.”

In commercials and music videos, the goal is to provoke an unexpected and emotional response in the viewer, says DP Benoit Soler in our third story about the use of ARRI technology on set of advertising shoots.

In our second interview about shooting commercials for global brands, DP Mélodie Preel describes advertising as a great laboratory with high aesthetic stakes—and how ARRI tools help her to reach them.

Advertising and music videos are creative playgrounds for young cinematographers. DP Kanamé Onoyama talks about his work for global brands and the visualization of chart-breaking songs with ARRI equipment.

New Orbiter software update for even stronger synergy between lighting and camera available. New possibilities for crews to work and cooperate faster and smarter.

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.