On “The Night of the 12th,” cinematographer Patrick Ghiringhelli relied on the ALEXA Mini LF and ARRI Master Anamorphic lenses.
Cinematographer K.K. Senthil Kumar ISC reports on his visual choices and challenges on the blockbuster Telugu-language action drama movie “RRR,” directed by S.S. Rajamouli.
The 2023 Oscar winners in Best Picture, Best Cinematography, Best International Feature, and other categories put their trust in ARRI technology.
A dreamy, colorful, surreal film, “The Springtime of My Life” is a comedy featuring two famous Italian musicians. On various sets in Sicily, DP Carlo Rinaldi made extensive use of ARRI Orbiter lights.
Based on the terrorist attacks in Paris 2015, the powerful thriller “November” was captured by DP Nicolas Noir AFC with the ALEXA Mini LF and ARRI SkyPanels.
In planning a hybrid photo and video studio, William Ophalvens needed perfect lighting equipment. He chose the ARRI Orbiter for its quality and versatility.
ARRI has now closed the deal to acquire professional lighting systems developer and manufacturer Claypaky.
The ARRI Orbiter proved to be essential behind the scenes of “Bardo, False Chronicle of a Handful of Truths.” In a video interview, gaffer Thorsten Kosellek talks about his experiences working with ARRI lighting.
DP Batara Goempar ICS shoots action-packed scenes and heart-pounding stunts with the lightweight and visually gripping ARRI large-format system.
Cinematographer Benedict Spence recalls shooting the fast-paced BBC/AMC hospital drama series with ARRI’s flagship large-format camera during the pandemic.
The inspiring short film “Grace” was accomplished by DP Dennis Zanatta ABC in harsh environments in the New Mexico desert with ALEXA 35, Signature Prime lenses, and ARRI Orbiter.
In a video interview, lighting designer Michael Heidinger explains how he used ARRI Orbiters and SkyPanels to illuminate a spectacular live show visualizing artificial intelligence in a completely new way.
