ALEXA anamorphic and A TOUCH OF SIN

Director Jia Zhangke and DP Yu Lik-wai discuss using ALEXA and an ARRI/ZEISS Master Anamorphic lens on A TOUCH OF SIN, which is in competition at Cannes 2013.

John Toll, ASC, shoots IRON MAN 3

The Oscar Award-winning DP talks about capturing on the ALEXA Studio in ARRIRAW for the blockbuster hit IRON MAN 3. This was Toll’s first digital feature.

ALEXA metadata for Lincoln MKZ campaign

Director Andrew Sinagra and DP Bill Bennett, ASC, seamlessly insert a CG car into live-action footage, utilizing metadata from the ALEXA Plus in post.

ALEXA in MAGIC CITY

DP Gabriel Beristain, ASC, BSC details his work in the period TV drama set in late 1950s Miami Beach.

The ARRI M90 - packing a punch

LA-based gaffer Cory Geryak looks forward to adding the new ARRI M90 to his lighting kit, which already includes other M-Series fixtures with MAX Technology.

ARRI Pro Camera Accessories for F5/F55

A full complement of accessories brings robust ARRI quality to Sony's latest digital cameras.

Stabilizing Canadian history

The National Film Board of Canada (NFB) helps ARRI perfect on-the-fly image stabilization as an option for the ARRISCAN 16 mm Archive Gate.

Highlights >>

New ARRISCOPE 3D Surgical Microscope

Visit us at CineGear 2013

ARRI Archive Workshop 2013 11th – 12th June Munich

NAB 2013 Showpage

New website and brochure for ARRI lenses

ARRI News issue NAB 2013

Now available: ALEXA XR Module Workflows White Paper

Visit our Learn Section for ALEXA VFX FAQs

ARRI awarded Technology & Engineering Emmy®

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CAMERAS & LENSES

LIGHTING SOLUTIONS

DI & ARCHIVE TOOLS

Quote of the Week >>

I did a side-by-side test with an 18K Fresnel and on my meter I was getting the same amount of light, if not more, out of the M90.

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Gaffer Cory Geryak

The new ALEXA camera range >>

Wireless Compact Unit >>

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ARRI film and digital cameras on ARGO

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ARRI cameras, lenses and lights on LES MISÉRABLES

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New L-Series LED Fresnels >>