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. Read more here.

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. Read more here.

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. Read more here.

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. Explore more.

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. Read more here.

DP Josua Stäbler talks about working with ARRI’s large-format camera and attempting carbon neutrality on the YouTube climate change series, “Seat at the Table.” Read more here.

Cinematographer Alessandro Mattiolo AIC Imago tells us about his experience with ARRI Signature Primes, ARRI ALEXA Mini LF and ARRI Hi‑5 Hand Unit with which he shot the latest music video of a famous Italian singer using a complete ARRI ecosystem. Read more here.

Korean DP Nak Seon Go showcases realistic images and authentic colors in the ominous cinematography of Netflix Original “Kingdom: Ashin of the North” with the help of the ARRI ALEXA Mini LF’s high dynamic range and ACES compatibility. Read more here.

"I was not interested in recreating an old-fashioned style of photography, and I didn’t want to refer to other black and white movies. I wanted something very crisp and modern in many ways. When you see skin, there’s a presence. So, the ALEXA LF was perfect for me because it gives crisp 4K images.” -- DP Bruno Delbonnel ASC, AFC on “The Tragedy of Macbeth”. Read more here.

The ALEXA Mini LF now offers you the choice of twelve different recording formats for productions of all shapes, sizes and budgets. We know that all that choice can be a challenge to communicate with customers, so we’ve designed an easily-digestible poster with visual aids to help clarify the recording format size, resolution and maximum framerate. Read more here.

DP Aiden Ulrich chooses ARRI ALEXA Mini LF’s, Signature Primes, and WCU‑4s to capture the Khaite SS2022 runway show at New York Fashion Week. Read more here.

Cinematographer Ari Wegner talked to us about the meticulous process of creating the restricted color palette for Academy Award® winner Jane Campion’s “The Power of the Dog.”
The film premiered at the Venice Film Festival and quickly became an Oscar front runner, with critics describing it as “cinematic poetry.” Watch more here.

“The ARRI Signature Zooms fill a long-standing void. The quality of the image across the range and being able to shoot at 500 mm with ALEXA Mini LF with just the in-frame sources at night was quite amazing,” Indian director and DP Setu (Satyajit Pande) shares insights about working with ARRI Signature Zooms on their new short film, “Across Windows.” Read more here.

Brazilian DP Julio Costantini discusses the approach and technology utilized on his latest film “Confessions of an Invisible Girl.” The Netflix Original was shot on ARRI ALEXA Mini LF and ARRI Signature Primes in ARRIRAW and lit by ARRI SkyPanels. Read more here.

Cinematographer Matias Boucard AFC talks to ARRI about his latest project “Eiffel.” Set in 1889, this is the story of the celebrated engineer Gustave Eiffel and the inspirations that led him to construct his masterpiece, the Eiffel Tower in Paris. Boucard shot the film using the ALEXA Mini, ALEXA Mini LF, ALEXA LF and ARRI Rental ALEXA 65 (as his main camera). Hear about his experiences working on the production and learn why the Eiffel Tower is so hard to shoot. Watch more here.

A direct link to a pdf that explains in detail why damage to SDI outputs can occur and what to do to prevent it.

Shot with a camera and lens package supplied by ARRI Rental and among others also illuminated with ARRI lights, “The Midnight Sky” was an audience favorite on Netflix before being nominated for Best Special Effects at the 93rd Academy Awards. Join us for a look behind the scenes from a camera and lighting perspective. Read more here.

With the availability of the new ALEXA Mini LF SUP 7.1, this would be a smart opportunity to overview and elaborate on what the ARRI ALEXA Mini LF has to offer to large format shooters, as well as S35 enthusiasts...Read more here.

“When it comes to achieving a certain imagery ARRI is a trusted choice for me. As an artist, my tools allow me the flexibility to create— my lenses and cameras are the paint and brushes to the canvas of life in motion." DP Mina Nabil about the  ARRI Signature Primes and ALEXA Mini LF. Read more here.

In this video, we share some footage captured in the new recording formats found in ARRI's latest ALEXA Mini LF Software Update Package 7.0.1. This SUP includes four new Super35 recording formats and two new Large Format recording formats, plus feature enhancements to the overall user experience. Explore more here.

Cinematographer Javier Salmones AEC talks to ARRI about his latest big project “El Cid”. Watch more here.

"The ALEXAs have a film look, which is the reason I have chosen them for every digital film I’ve shot so far, including ‘Gunpowder Milkshake.’" - DP Michael Seresin BSC, on working with ARRI Rental EU on Gunpowder Milkshake. Read more here.

Over two days, ARRI & friends welcomed dozens of guests at ARRI's UK base in Uxbridge. Visitors were spoiled for choice to see first-hand an array of different camera stabilizers and remote systems also with the ALEXA Mini LF. Watch more here.

"Another advantage of the larger format was that we could be on a longer focal length lens, but still have a wider frame. With a smaller format, you end up having to use comparatively wider lenses."  -- Cinematographer Ross Riege on NBC’s new sitcom “Rutherford Falls” captured with ALEXA Mini LF. Watch and read more here.

Australian DP Alexander Leeway crafts unique ARRI Signature Prime looks by using the lenses’ magnetic rear filter holder on his music video shoot for Phondupe’s "Silo". He shot with ALEXA LF and Mini LF cameras and a TRINITY stabilizer, and spoke to ARRI about the experience. Read more here or the full story on arri.com.

"The package of ALEXA Mini LF and Signature Zooms convinced me and I would use it not only for the next ballet film, but also with great pleasure for my next automotive shoot"  - DP Oliver Maier, who shares his impression of the Signature Zooms while shooting the project “125 Years Carl Orf" captured with ALEXA Mini LF. Read and watch more here.

Three artful choreographies. Three different sceneries. All shot in one single day. TRINITY operator Samuel Amaral, based in Portugal, created three beautiful clips, shot entirely on the TRINITY system. He chose the ALEXA Mini LF and the Signature Primes to film in large format and because of their excellent compatibility with the TRINITY. Watch more here.

The new music video of Arkan45 was shot on ARRI ALEXA Mini LF with an ARRI Signature Prime lens. Cinematographer Jonas Kolahdoozan shares his experience. Read more here.

ARRI Signature Zoom lenses have already convinced many cinematographers all over the world with their high-end performance. Japanese cinematographer Taro Kawazu took a chance to test the lenses and created this wonderful reel. Explore more.

Olukanmi Abayomi Jeremiah, owner of Abazee Productions in Nigeria, about receiving the ALEXA Mini LF. Read more here.

“ALEXA Mini LF has always been my camera of choice because of its size, weight, and flexibility. The camera has more power in a mini size. I can completely rely on its efficiency and hassle free operations...". Read more here.

For Xavier Beauvois’s “Drift Away” (original French title: “Albatros”), DP Julien Hirsch AFC chose ARRI’s ALEXA Mini LF, Signature Prime lenses, and SkyPanels. Read more here.

See for yourself the results of the first test shoot with the new ARRI Signature Zoom 16-32 mm, shot by Hungarian cinematographer Laszlo Bille. Captured with ALEXA Mini LF. Explore more.

1st AC Emanuel Köll on the virtual production set of the music video NAHUEL HUAPI for the Austrian band Bilderbuch, captured with ALEXA Mini LF and WCU‑4. Read more here.
 

ALEXA Mini LF SUP 7.0 includes new Super 35 and LF recording formats and many more features. Explore more.

ARRI has released the ALEXA Mini LF SUP 7.0 update. This adds quite a few new features, including the much-requested Super 35 recording modes. ARRI has also added several new large-format recording modes as well. Read more here.

ARRI has released SUP 7.0 for their popular ALEXA Mini LF camera system. The update includes some long-awaited features, with new dedicated Super35 recording modes that match those found on the original ALEXA Mini. In most cases, these new modes can achieve higher maximum frame rates than the original ALEXA Mini. There are new LF (Large Format) recording modes, an expanded list of framelines and anamorphic squeeze factors, and a number of other enhancements as well. Read more here.

Exciting news: the shooting of Netflix’s “1899” begins. The new series by “Dark” creators Jantje Friese and Baran bo Odar is being shot on a new virtual set at Studio Babelsberg (near Berlin). Read more here.

"The flexibility of the ARRI artemis systems allowed us to switch quickly between TRINITY and a regular Steadicam setup. Combined with the ALEXA Mini LF, we had a powerful tool kit and were ready for any challenge." Thomas Schiller, TRINITY and artemis operator on set of "Barbarians".

Morad Abdel-Fattakh, a famous Russian cinematographer, has put the ARRI Signature Primes through their paces. Captured with ALEXA Mini LF and Signature Primes. Read more here.

ARRI and Directors UK joined forces to challenge TRINITY with a single-shot competition, to inspire directors, cinematographers, & camera operators with the creative possibilities you can achieve with ARRI’s camera stabilizer system. Read more.

Go behind the scenes of Netflix's "The Trial of the Chicago 7" with cinematographer Phedon Papamichael, ASC to learn more about the look, cinematography and experience shooting with the ALEXA LF and Mini LF on this multiple award-nominated film. Click here to watch the video.

In this video, XM2 PURSUIT demonstrates another option of how productions can maintain social distancing and minimize the number of crew needed on set. To shoot this short action sequence, the crew used the ALEXA Mini LF and Signature Primes mounted on top of XM2’s custom-built Charlie RC vehicle. Read more here.

Using ARRI’s ALEXA LF and ALEXA Mini LF cameras with Signature Primes, DP Luo Pan ASC, CNSC and director Guan Hu shoot an epic war film on a tight schedule. Read more here.

Director Shaka King on the set of "Judas and the Black Messiah" shot on MiniLF, ALEXALF, and DNALF lenses by Sean Bobbit BSC. In theaters and on HBO Max February 12. Repost: ARRI Rental

📷: Glen Wilson/ Warner Bros.

DP Mike Marasco about the Miley Cyrus’ performance of the Beatles song “Help” during the pandemic - captured with: ALEXA Mini LF. Read more here.

Read more from the DP Mauro Chiarello on “Launch It' – Squarespace commercial shot with ALEXA Mini LF.

Ashley Barron ACS lensed 20th Digital Studio commissioned short “NYX” for “Bite Size Halloween,” a short film series featured on Hulu, Freeform, and FX’s digital and broadcast platforms.

Read more here.

The Prom, starring Meryl Streep, James Corden and Nicole Kidman is now streaming on Netflix. DP Matthew Libatique shot the musical comedy with the ALEXA Mini LF. 

Cinematographer Valerio Azzalishot “Rose Island,” the first Italian feature film produced in large format, with ARRI’s ALEXA LF, ALEXA Mini LF,and ARRI ZEISS Master Anamorphic lenses. 

ARRI technology illuminated and captured a virtual production experience in France for the fashion market, including SkyPanels, Orbiters, ALEXA Mini LF, ARRI Signature Prime lens, TRINITY, and many more. Read and watch, what happened behind the scenes.

We are thrilled to see Motion Impossible AGITO paired with the ARRI SRH‑3, stabilized remote head, to film an intimate concert with Taylor Swift performing her record breaking album ‘folklore: the long pond studio sessions.’

This remote video production was COVID compliant and the concert was captured with the ALEXA Mini LF and is now streaming on Disney Plus

Louis Vuitton wishes happy holidays with this new advertising film shot on ALEXA Mini LF accompanied by the ARRI Master Anamorphics. 

DP Alex de Pablo about the shoot of Spanish TV Drama “Antidisturbios” with the ALEXA Mini LF 

From Paris to the moon, lovers Marion Cotillard and Jérémie Bélingard demonstrate for Chanel's new advertising film that the quote "I love you to the moon and back" has never had so much meaning 🌝 Shot with ALEXA Mini LF

Read more from the Cinematographer Maxime Alexandre, AIC on "The Haunting of Bly Manor".

Aided by the versatile camera combo of the ALEXA Mini LF and ARRI Signature Prime lenses, cinematographer Michael Dwyer melds documentary and cinema in Justin Bieber’s new video “Intentions”

Production is ramping up globally and demand for the ALEXA Mini LF continues to increase. The release of the ALEXA Mini LF Software Update Package SUP 6.0.22 increases general system stability and fixes a number of bugs.  

Click here for more information.

As part of our regular camera testing, we have discovered a potential issue that can occur when removing the Codex Compact Drive too quickly from the Mini LF after a recording stop. This can be avoided either by installing the SUP 6.0.22 or by waiting 10 seconds after the recording is stopped before removing the drive from the camera. 
Click here for more information.

“How to Be a Good Wife,” a hit this summer in French cinemas, along with soon to be released “My Cousin”and“Waiting for Bojangels” were all captured with ALEXA LF and ARRI Signature Prime lenses. Cinematographer Guillaume Schiffman AFC explains his choice of tools which also included ARRI SkyPanel and ALEXA Mini LF. 

A firmware patch is now available to address an error with some Codex Compact Drives. To have the update installed free of charge, affected drives can be sent to any ARRI Service station. Click here for more information.

Matthew Allard ASC delves deep into the ALEXA Mini LF in the most extensive review yet. He discusses the camera’s features, compares it to ALEXA Mini and ALEXA LF, provides over/under exposure test footage as well as real world example footage from many different lighting situations, interviews a colorist and an ALEXA Mini LF owner and talks about shooting with full frame, Signature Primes, OCU‑1 and Master Grips. A long but worthwhile read!

Marc Shipman-Mueller explains in this minute-long video why damage to SDI outputs can occur and what to do to prevent it.

The 92nd Academy Awards recognized many outstanding films this year. Oscar® winners including “Parasite,” “1917,” and “Joker” were all captured with ARRI camera systems and serviced by ARRI Rental.

Not only valuable in feature films, the ALEXA LF, ALEXA Mini LF, and ARRI Signature Prime lenses are increasingly being used for commercials and music videos. Just ask up and coming DP Mélodie Preel.

Universal Studios’ “The Invisible Man” is the first feature film made in Australia with ALEXA LF, ALEXA Mini LF, and ARRI Signature Prime lenses. Cinematographer Stefan Duscio ACS talks about shooting a character that can’t be seen.

Video interview with Roger Deakins CBE, ASC, BSC, his wife James Deakins, and TRINITY operator Charlie Rizek about how they used ARRI ALEXA Mini LF, ARRI Signature Prime lenses, and TRINITY stabilization to achieve the real-time camerawork of Sam Mendes’ technically audacious war film “1917.”

The first customer shipments of ARRI’s new ALEXA Mini LF begins. Pre-production cameras have already been used on high-end productions by cinematographers like Roger Deakins and Greig Fraser.

The Philippine feature film “Isa Pa, with Feelings” was captured by DP Tey Clamor with ARRI’s ALEXA LF, ALEXA Mini LF, and TRINITY. In this interview, she shares her experience of working with ARRI’s large-format camera system for the very first time.