How does the ARRI ALEXA 35 perform against the Sony FX6? Well, it’s not a real match, just a fun comparison made by Linus from ShortCircuit. That’s a cool piece for those…
It appears that we’re right. The camera responsible for the crazy impressive 22-minute oner in Extraction 2, is the RED Digital Cinema Komodo. The implementation of the oner was possible due to…
YouTuber Matti Haapoja shows us how he prepares his ARRI ALEXA Mini LF for a shoot. This very basic but educational tutorial demonstrates how to assemble a high-end cinema camera for a…
Amazon Studios and ARRI have collaborated on an exclusive, in-depth video featurette about “The Lord of the Rings: The Rings of Power,” analyzing the technological orchestra of large format cinematography, VFX, lighting,…
The cinematography uniqueness of the 4th John Wick as compared to the rest of the chapters is the fact that it was ‘Filmed for IMAX’ on large format cameras and lenses. DP…
ARRI has announced the new SUP 7.2 for the ALEXA Mini LF, and it emphasizes that this ‘large format flagship’ will continue to improve with additional updates during 2023. One of the…
IndieWire has published its extensive survey regarding the cameras and lenses that shot 40 narrative films at the 2023 Sundance Film Festival. We took the data and organize it in order to…
Karl Walter Lindenlaub ASC sheds very interesting light (literally) on the Paramount Plus series “Halo” which was shot on the LF systems. It appears that the Signature Primes were used for the…
ARRI has published a very useful piece of educational info. The ALEXA mini LF Recording Formats Poster Pack is an “easily-digestible” poster with visual aids to help clarify the recording format size,…
The process of making Dune was pretty novel in terms of creating the imagery. The movie was shot digital (on the ARRI ALEXA LF and Mini LF), then was transferred to 35mm…