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.

Read more here.

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

Read more here.

ARRI’s large-format system magnifies the complexities of “Before, Now & Then” 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. Read more here.

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. Read more here.

"I was not interested in recreating an old-fashioned style of photography, and I didn’t want to refer to other black and white movies. I wanted something very crisp and modern in many ways. When you see skin, there’s a presence. So, the ALEXA LF was perfect for me because it gives crisp 4K images.” -- DP Bruno Delbonnel ASC, AFC on “The Tragedy of Macbeth”. Read more here.

Cinematographer Ari Wegner talked to us about the meticulous process of creating the restricted color palette for Academy Award® winner Jane Campion’s “The Power of the Dog.”
The film premiered at the Venice Film Festival and quickly became an Oscar front runner, with critics describing it as “cinematic poetry.” Watch more here.

Cinematographer Matias Boucard AFC talks to ARRI about his latest project “Eiffel.” Set in 1889, this is the story of the celebrated engineer Gustave Eiffel and the inspirations that led him to construct his masterpiece, the Eiffel Tower in Paris. Boucard shot the film using the ALEXA Mini, ALEXA Mini LF, ALEXA LF and ARRI Rental ALEXA 65 (as his main camera). Hear about his experiences working on the production and learn why the Eiffel Tower is so hard to shoot. Watch more here.

"The ALEXAs have a film look, which is the reason I have chosen them for every digital film I’ve shot so far, including ‘Gunpowder Milkshake.’" - DP Michael Seresin BSC, on working with ARRI Rental EU on Gunpowder Milkshake. Read more here.

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". He shot with ALEXA LF and Mini LF cameras and a TRINITY stabilizer, and spoke to ARRI about the experience. Read more here or the full story on arri.com.

Congratulations to Ali Cook and the team for their short film "The Cunning Man," winner of Challenge ALEXA 2019 in collaboration with DUK, they have successfully gone on to win a myriad of awards from 80 different festivals! Read more here.

Indonesia’s rising cinematographer, Vera Lestafa, and the first TRINITY operator in the country, Hanafi “Aan” Malik, join forces to shoot romance drama film “Under the Age” while equipped with the ultimate combination of ALEXA LF, Signature Primes, and TRINITY. Read more here.

Go behind the scenes of Netflix's "The Trial of the Chicago 7" with cinematographer Phedon Papamichael, ASC to learn more about the look, cinematography and experience shooting with the ALEXA LF and Mini LF on this multiple award-nominated film. Click here to watch the video.

Using ARRI’s ALEXA LF and ALEXA Mini LF cameras with Signature Primes, DP Luo Pan ASC, CNSC and director Guan Hu shoot an epic war film on a tight schedule. Read more here.

Director Shaka King on the set of "Judas and the Black Messiah" shot on MiniLF, ALEXALF, and DNALF lenses by Sean Bobbit BSC. In theaters and on HBO Max February 12. Repost: ARRI Rental

📷: Glen Wilson/ Warner Bros.

Cinematographer Valerio Azzalishot “Rose Island,” the first Italian feature film produced in large format, with ARRI’s ALEXA LF, ALEXA Mini LF,and ARRI ZEISS Master Anamorphic lenses. 

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.

“Princess Switch” is a romantic comedy fairytale now streaming on Netflix.

Read more here.

Award-winning cinematographer Taro Kawazu shares his thoughts on shooting the Netflix Original series “Alice in Borderland” with ALEXA LF and ARRI Signature Prime lenses in Japan.

Read more here.

Cinematographer Giles Nuttgens BSC chooses ALEXA LF and ARRI Signature Primes for the Netflix film “Enola Holmes,” about the younger sister of Sherlock and Mycroft Holmes.

Cinematographer Greig Fraser ACS, ASC takes us behind the scenes of Disney’s groundbreaking live-action Star Wars series “The Mandalorian.” He discusses shooting in-camera effects with ALEXA LF on the series, which is Emmy-nominated in 15 categories.

“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. 

Cinematographer Keiko Nakahara speaks to ARRI about shooting the Bollywood biopic of Indian mathematics prodigy Shakuntala Devi with ALEXA LF and Signature Prime lenses. By opting for an HDE (High Density Encoding) workflow, developed by Codex, the production reduced data costs by around 40% and made large-format fit its budget, while retaining full image quality.

Not only valuable in feature films, the ALEXA LF, ALEXA Mini LF, and ARRI Signature Prime lenses are increasingly being used for commercials and music videos. Just ask up and coming DP Mélodie Preel.

Universal Studios’ “The Invisible Man” is the first feature film made in Australia with ALEXA LF, ALEXA Mini LF, and ARRI Signature Prime lenses. Cinematographer Stefan Duscio ACS talks about shooting a character that can’t be seen.

The 92nd Academy Awards recognized many outstanding films this year. Oscar® winners including “Parasite,” “1917,” and “Joker” were all captured with ARRI camera systems and serviced by ARRI Rental. 

Canadian DP Craig Wrobleski discusses his new film "In the Tall Grass," now streaming on Netflix. Wrobleski shares his experiences filming the supernatural horror, and his take on ARRI's large-format camera system.

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.