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.
Gaffer Stéphane Bourgoin talks about his latest projects, such as “The Last Duel” and “Emily in Paris,” shot in France and lit with ARRI lights.
DP Hidetoshi Shinomiya and Lighting Director Daiki Takai JSL relied on the stability and versatility of ARRI equipment to capture the genuine and raw emotions of the characters from the Oscar®-winning film “Drive My Car.”
For the state-of-the-art Sportsnet Studios, lighting director James Downey chose ARRI SkyPanels due to their expertise in illuminating virtual reality, augmented reality, and 3D spaces.
The 94th Academy Awards recognized many outstanding films. Oscar® winners including “Dune,” “CODA,” “The Power of the Dog,” and “Drive My Car” were captured using ARRI technology.
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.”
At the top-ranking New Year’s Eve television special this year, 80 ARRI SkyPanel S360-Cs were chosen to illuminate the sensational event.
The European Film Awards 2021 awarded Crystel Fournier AFC for her work on “Great Freedom” where she chose to work with ARRI ALEXA Mini and SkyPanels.
The Sundance film festival is a sweet spot for independent film makers and they continue to rely on ARRI to shoot and light their projects.
Korean DP Nak Seon Go showcases realistic images and authentic colors in the ominous cinematography of “Kingdom: Ashin of the North” with the help of the ARRI ALEXA Mini LF’s high dynamic range and ACES compatibility.
Using ARRI’s ALEXA LF, DP Bruno Delbonnel ASC, AFC crafted a minimalist approach to the cinematography of Joel Coen’s “The Tragedy of Macbeth.”
Chief electrician, Sidney Baucheron, talks to ARRI about his different projects and experiences, sometimes in extreme conditions.
