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.
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.
Thanks to their ability to handle skin tones, cinematographer Adam Kimmel ASC chooses the ARRI Signature Primes in films for global brands including Audi, Jeep, and a new Netflix comedy show.
Returning to Toruń, Poland,this November, Energa Camerimage is one of the highlights in ARRI’s calendar. Below are the full details of the ARRI events and activities at the festival this year.
The Indian war film “Uri: The Surgical Strike” was shot by DP Mitesh Mirchandani with ARRI ALEXA SXT and Master Anamorphic lenses. The cinematographer speaks about his camera and lens choices and shares his experience during the difficult shooting conditions.
For “Space Dogs,” DP Yunus Roy Imer filmed in Moscow with stray dogs. In an interview the cinematographer talks about the difficulties of shooting the film, his equipment selection from ARRI Rental, and the color grading at ARRI Media—also in a video.
Cinematographer Ferran Paredes Rubio talked with ARRI on “The Mayor of Rione Sanità” directed by Mario Martone. The Italian feature was shot with ALEXA XT Plus and ALEXA Mini cameras while being lit with lighting equipment by ARRI.
When Callaway Golf wanted to upgrade its video productions, video producer Tony Regalmuto and marketing manager Ethan Ganot had a wish list: the system had to be versatile to handle different production demands, easy enough for non-professionals to use and provide the highest quality result.
ARRI’s new LED point source Orbiter ushers in a new era of digital lighting. A versatile lamphead featuring a range of changeable optics, state-of-the-art ARRI Spectra six-color light engine, innovative software, and much more.
The celebrated cinematographer Roger Deakins CBE, ASC, BSC joins ARRI to give his feedback on ALEXA Mini LF, Signature Prime lenses, and the TRINITY stabilizer, all of which he used on director Sam Mendes’ new film, “1917.”
2019 Grammy Awards are nominated for four Emmy Awards, including Lighting Design. Go behind the scenes with lighting designers Bob Dickinson and Noah Mitz to discover how they used the ARRI SkyPanel S360-C during the show.
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.
Join us at IBC in Amsterdam this September to experience ARRI’s latest technology and breathtaking showreels—with a free entry pass.
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.
Cinematographer Kevin Garrison wanted to keep it real for Taron Lexton’s new picture “Nomad”.
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.
In “On Yoga: The Architecture of Peace,” Brazilian cinematographer Adolpho Veloso follows still-photographer Michael O’Neill on a trip through today’s world of yoga. In this interview, he shares his experience of working on this visually impressive documentary, shot with the ARRI AMIRA camera.
ARRI Approved Certified Pre-Owned Program has been field-tested and is getting rave reviews. Director Noam Kroll shares his experiences.
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.
With magnificent sets, advanced equipment, and the modern concept of media convergence, Beijing Television’s (BTV) brand new media convergence studio opened and utilizes more than 100 LED lighting sets from ARRI.
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.
At the shooting of the music video “Sido feat. Haftbefehl & Kool Savas – 4 Uhr Nachts” a SkyPanel 360-C and two SkyPanels 60-C provided the lighting. Cinematographer Nikola Krivokuca on the use of ARRI LED spotlights.
The French theater collective Compagnie Des Cinq Roues performed in the renowned French Théâtre du Soleil in Paris with stage light from ARRI’s SkyPanel S60-C—and will do so in more than 60 theatres and festivals across the country soon.
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.
Camera crews from around the world share their positive WVS feedback.
On Marcus H. Rosenmueller’s new feature film “Trautmann” (UK film title: "The Keeper") ARRI was involved in various steps of the project: as co-producer, camera rental, and during the post-production. In an interview, the director talks about the collaboration and their challenges in visual effects and color grading.
Equipment from ARRI Lighting helped to illuminate several student projects at the famous Parisienne film school.
The Academy Awards celebrated many films this year, such as "Green Book," "Roma," and "Bohemian Rhapsody" that were captured and lit with ARRI equipment.
At Vienna’s Burgtheater, 20 SkyPanels S60-C from ARRI are currently providing perfect stage lighting for Simon Stone’s production of “Medea.”
At the 33rd ASC Awards gala Łukasz Żal, PSC won the Theatrical Award for best cinematography for “Cold War,” while ARRI’s Franz Kraus was honored with the ASC Bud Stone Award of Distinction. The ASC Lifetime Achievement Award was given to Robert Richardson, ASC.
During the shooting of Rita Falk’s novel adaptation “Hannes,” ARRI’s Operator Control Unit OCU-1 made its film debut. DP Christian Marohl and camera assistants Sascha El Gendi and Julius Aeneas Thamer report on their experiences.
Premiering at the Sundance Film Festival 2019, “Sea of Shadows” is a dramatic documentary thriller. Director and cinematographer Richard Ladkani chose ARRI Master Grips to aid in the challenge of filming on his own at sea.
The opening ceremony celebrating the 100th anniversary of the Bauhaus was filmed with four ARRI AMIRAs and two ALEXA Minis and streamed live on Arte Concert. Director Thomas Janze talks about the camera setup.
Since it’s Jury Prize win at the Cannes Film Festival in May 2018, “Capernaum” has been impressing critics and audiences alike. Recently it has been nominated for Best Foreign Language Film by the Academy Awards and BAFTA.
In “The Dance,” Sekizawa explores the breaking down of traditional ideals of Japanese refinement through the avant-garde dance form known as Butoh. This project compiles slow motion, still photography, and stop-motion to create one seamless 10-second looping film.
