Haha…ARRI learned from us and created a camera chart of the ARRI cameras that were used to shoot Cannes 2024 films. According to the chart, the new ALEXA 35 is booming. In the 2nd place is the Mini LF, and the 3rd belongs to the good and old ALEXA Mini.
ARRI cameras at Cannes 2024
As the tradition continues, ARRI cameras are preferred among Cannes filmmakers. For instance, the ALEXA Mini and Mini LF were the chosen cameras by the Cannes 2023 cinematographers. It appears that in Cannes 2024 there’s no difference besides the rise of the newest ALEXA, which is the 35. ARRI felt inspired by Y.M.CINEMA charts and released its own Cannes 2024 camera chart focusing on ARRI cameras. According to ARRI’s chart, the ALEXA 35 is in the first place as the weapon of choice of Cannes 2024 cinematographers. After that, there are the Mini LF, Mini, ARRICAM LT, ARRIFLEX 416, ALEXA 65, ALEXA LF, and ARRIFLEX SR3. That’s an impressive film presence as well. Explore ARRI’s camera chart of Cannes 2024 below:
ARRI Mini: A camera from 2015 but still kicking
The ALEXA Mini can be defined as a game-changing camera of 2015 and continues to be a flag-bearer for the reliability of ARRI camera systems. It has once again been the choice of numerous participating films at the Festival de Cannes, among them is “Wild Diamond (Diamant brut).“ Directed by Agathe Riedinger and filmed by DP Noé Bach AFC, the feature film premiered in the main competition. Riedinger explains her visual approach, saying, “Cinematographer Noé Bach and I made radical choices as regards the frame, the light, and the colors. We all had a list of references, from religious painting to cinema, photography, or music videos. I wanted the light to be soaked, dense, and contrasting, with bold colors. I wanted the image to combine neon and twilight, harshness, and delicacy. I wanted it contradictory, charged, and bubbling”. Get behind-the-scenes glimpses of more Cannes films, captured with ALEXA Mini. These projects include “The Marching Band,” “Meeting with Pol Pot,” “Baby,” “On Becoming a Guinea Fowl,” and “The Shameless.”
Wrapping up
First, glad to explore the eagerness to shoot in Super 35 format. Interestingly, there are two solid ARRI solutions for that: The ALEXA 35 and the Mini. It’s no surprise that many filmmakers choose the Mini as it’s much more affordable from s rental point of view, and you can buy your own too. Additionally, the firm presence of the film is noticeable (ARRICAM and ARRIFLEX as usual) for good and old conservative filmmaking. It will be intriguing to reveal what other cameras were used to shoot other Cannes 2024 films. We’ll present the segmentation soon. Stay tuned.
