The first ALEXA 35 Live - Multicam Systems have been delivered and already been active in a production. At the same time a test shoot on a soccer game has been conducted.
The Wiener Konzerthaus and the Mozarteum University Salzburg use ARRI Orbiter for their lighting. Both appreciate the high quality of the color and characteristics of the light along with the fixture’s perfect dimming curve and quiet operation.
The team behind X3D Studio and cinematographer James Hia discuss the creative possibilities and groundbreaking experience of filming in Southeast Asia’s largest ARRI-accredited virtual production stage.
Cinematographer Guido Frenzel used the ARRI Multicam System to give a live production feel to a new adaptation of the Holocaust trial play, “Die Ermittlung. Oratorium in elf Gesängen.”
Director Gideon Merz completely relied on ARRI SkyPanel X to illuminate his short film “Tempest” and create different looks with limited resources.
ARRI Solutions supported campaign’s LED volume shoot with consultancy on color calibration and playback workflow development.
DP Benedict Spence BSC and colorist Toby Tomkins speak to ARRI about visualizing New York City in the 1980s for the six-part Netflix series, captured with ALEXA 35.
Through meticulous collaboration and with the aid of ALEXA 35, SkyPanels, and other ARRI lights, the team behind the Filipino film “Fruitcake” brings VFX-intensive scenes to life.
At the 77th Festival de Cannes, more than 80 percent of films in leading categories were captured with ARRI camera systems—with ALEXA 35 and ALEXA Mini on top of the charts.
DP Adil Afsar used ALEXA 35 and ARRI Master Anamorphic lenses, along with ARRI SkyPanels, to bring Indian comedy film “Madgaon Express” to life.
The toolkit of French cinematographer Vincent Richard, also known as “Marquis,” for his work with comedic films includes ALEXA Mini LF and ALEXA 35.
An ALEXA Mini LF camera and ARRI Signature Prime lenses proved useful to DP Nicolas Gaurin AFC for the comedy “Mr. Putifar’s Wacky Plan.”
