ARRI Signature lenses

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.”

South Korea’s leading organizations for virtual production utilize ARRI lighting and camera systems to push boundaries in the field.

At the 2024 Oscars®, ARRI technology and services were behind the scenes in 6 out of 10 Best Picture nominees while 3 of 5 Best Cinematography nominated films were captured with ARRI cameras.

Cinematographer Stefano Meloni relied on ALEXA 35, Signature Prime lenses, and SkyPanel lights to capture the feature film “Caracas,” a journey through a cold and livid city of Naples. 

To translate Oscar-winning director Juan José Campanella’s aesthetic vision for “The Envoys” into staggering images, cinematographer Miguel P. Gilaberte AEC relied on ALEXA 35, Signature Zoom lenses, and ARRI lights. 

Cinematographer Logan Schneider leveraged ALEXA Mini LF as well as ARRI Signature Primes and Zooms to recount the stories of Arnold Schwarzenegger’s life on Netflix’s “Arnold.”

Storied cinematographer C. Kim Miles relied on ALEXA Mini LF, Signature Primes, and DNA LF lenses to bring personal authenticity and variety to one of Netflix’s hottest new series in 2024, serviced by ARRI Rental Los Angeles.

French cinematographer Pierre Milon chose to work with ARRI tools for a beautiful biopic dedicated to sailor Florence Arthaud.

Cinematographer Paolo Carnera relied on ALEXA Mini LF and ARRI Signature Primes to capture “Io Capitano,” the story of two African men and their dangerous passage from Senegal to Europe.

Cinematographer Johannes Obermaier BVK and 1st AC Georg Lanz reveal how they created a nimble camera setup with the ALEXA Mini LF, Signature Primes, Hi‑5, and Master Grip.

Cinematographer David Lanzenberg creatively harnessed the ALEXA Mini LF, ARRI Signature Primes, and Orbiter lights to create captivating visuals in Netflix's hit series “Wednesday.”

DP Christopher Probst ASC showcases the capabilities of the Orbiter, ARRI’s advanced LED light for image capture and color fidelity, in a short film titled “An Ace up the Sleeve.”

ALEXA Mini LF with Signature Primes, TRINITY stabilizer, and ARRI lights: Cinematographer Emanuele Zarlenga has made extensive use of ARRI tools in his latest commercials.

ARRI technology helped DP Álex de Pablo define the two parts of “The Beasts,” winner of Best Film and Best Cinematography at the 2023 Goya Awards.

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.

DP Batara Goempar ICS shoots action-packed scenes and heart-pounding stunts with the lightweight and visually gripping ARRI large-format system.

The inspiring short film “Grace” was accomplished by DP Dennis Zanatta in harsh environments in the New Mexico desert with ALEXA 35, Signature Prime lenses, and ARRI Orbiter.

Key grip Gary Hymns tells ARRI how he, cinematographer Sir Roger Deakins CBE, ASC, BSC, and the camera and grip crew worked with MAXIMA on Sam Mendes’ new film “Empire of Light.”

Cinematographer Arvind Kashyap speaks to ARRI about working in large format on the challenging location shoot of director Rishab Shetty’s action thriller “Kantara.”

Indonesian DP Batara Goempar ICS shares how he brought out the subtle emotions and calibrated nuances behind “Before, Now & Then” through immersive images captured with the ALEXA LF and Signature Primes.

Shooting a French miniseries about the Notre-Dame de Paris fire, cinematographer Jean-Max Bernard used ARRI Signature Primes, the ALEXA Mini LF, and SkyPanel lights to enhance the firefighters’ epic.

At this year’s EnergaCamerimage, ARRI showcased tools and sponsored various educational and social offerings. ARRI cameras and lenses were also behind the top award-winning films, including the Gold, Silver, and Bronze Frog.

Shot with the ALEXA Mini LF, Signature Primes, and ARRI lights, Netflix’s feature film “Robbing Mussolini” is structured into four aesthetic worlds. ARRI talked to DP Gian Filippo Corticelli about his experiences on set in Italy and colorist Andrea Baracca about the finishing touches of the film. 

Using ARRI Signature Prime lenses along with ARRI SkyPanel, Orbiter, and ARRIMAX lights, cinematographer Italo Petriccione captured “The Return of Casanova,” a story with changing time periods and color designs. 

César-winning duo of filmmakers pairs up with ARRI cameras and lights to bring the chilling atmosphere of “La Tour” to life.

From fashion commercials to series teasers, cinematographer Michele Brandstetter de Bellesini chooses to work with ARRI ALEXA Mini LF, ALEXA Mini, Signature Primes, TRINITY, and SkyPanel.

For ARRI’s contributions to the industry, the company received the Philo T. Farnsworth Corporate Achievement Award at the 74th Engineering, Science & Technology Emmy® Awards.

Cinematographer João Pedro Plácido aip talks to ARRI about choosing a Signature look for director Jeanne Waltz’s “The Wind Whistling in the Cranes.”

In our second interview about shooting commercials for global brands, DP Mélodie Preel describes advertising as a great laboratory with high aesthetic stakes—and how ARRI tools help her to reach them.

At the 75th Festival de Cannes, the vast majority of participating films were equipped with ARRI technology, including Palme d’Or winner “Triangle of Sadness.” ARRI also enjoyed providing world-class equipment and hosting inspiring events at the Croisette.

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.

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 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.

Offering guests a mixture of virtual and live events in Toruń, Poland, EnergaCAMERIMAGE will certainly be a highlight of 2021. Below are the full details of the publicly accessible ARRI events and activities at the festival this year.

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.

Shot with the ARRI ALEXA Mini camera, lensed with ARRI Signature Primes, and lit with ARRI’s M-Series and SkyPanels, DP Vladan Radovic vividly recreates the lights and colors of Rome in the 8th century BC for “Romulus.”

At the Festival de Cannes 2021, the vast majority of winning and participating productions relied on ARRI equipment. At and surrounding the event, ARRI played a behind the scenes role and also sponsored several prizes.

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".

Despite inclement weather conditions and a variety of indoor and outdoor settings, DP Julien Hirsch was able to “discover the flexibility and simplicity of the ALEXA Mini LF” on one of his latest projects.

Director Blake Farber and director of photography Corrado Serri AIC share their experience shooting with the Mini LF and Signature Prime lenses for Pepsi's 'Discover' commercial.

Now streaming on Netflix, Jangle’s colorful, magical world was brought to life by DP Remi Adefarasin on ARRI ALEXA LF cameras and Signature Prime lenses.

“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. 

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”

ARRI is releasing Signature Prime Software Update Package 2.1, including Lens Firmware LMC V2.1, Lens Bootloader V1.5 and Sensor Firmware V2.06.

ARRI, Sky Studios, Dimension, DNEG, and Creative Technology partner to champion new skills, innovation, and insights. Double Oscar-winner Paul Franklin (“Interstellar,” “Inception”) directs the Virtual Production Innovation Project.

Working with international ballet dancers, a new concept car, and state-of-the-art LED walls, cinematographer Oliver Maier puts three of the new ARRI Signature Zooms through their paces.

Offering guests a mixture of virtual and live events in Toruń, Poland, EnergaCAMERIMAGE will certainly be a highlight of 2021. Below are the full details of the publicly accessible ARRI events and activities at the festival this year.

Matthew Allard ACS has been able to get early access to prototype versions of Signature Zoom lenses for a couple of days and used the chance to put them through their paces: "The biggest compliment I can give them is that I felt like I was using primes. I have used quite a large array of cine zooms over the years and the Signature Zooms are the first zooms I have used that don’t feel like zooms." Follow the link to read the review and see test footage.

Go behind the scenes with wildlife filmmakers Implement Productions to get a first-hand look at how the Signature Zooms handle the extreme temperatures of Yellowstone National Park - even when used on another camera system. Implement Production's Phillip Baribeau discusses his experience using the 45-135, 65-300, and the 1.7x extender and how the ARRI Signature Zooms helped him see into the shadows.

ARRI introduces four Signature Zoom lenses: 16-32 mm T2.8, 24-75 mm T2.8, 45-135 mm T2.8, and 65-300 mm T2.8 (110.5-510 mm T4.95 with dedicated 1.7x extender). They cover Large Format / Full Frame and have LPL mounts. So, now there is an ARRI Signature lens system consisting of four Signature Zooms and sixteen Signature Primes.