ARRI Archives - Page 15 of 24 - Y.M.Cinema Magazine

ARRIFLEX 765: A Small Tribute to a Big Camera

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2021-11-13

Educate

3 mins read

ARRI Rental has launched a mini-site dedicated to one of the most intriguing and magical cameras on the planet – The ARRIFLEX 765. What do we know about this big piece of…

Onsemi Thanks ARRI for Winning an Emmy on CMOS Sensors Technology

Onsemi Thanks ARRI for Winning an Emmy for its CMOS Technology

by

YMCinema

2021-11-08

News

2 mins read

Onsemi and ARRI have long term relationship and partnership regarding the outstanding ALEV sensors. A few days ago, Onsemi (aka ON-Semiconductor) was awarded an Emmy for Technology and Engineering by the National…

ARRI Rental Introduces New Large-Format Anamorphic & Spherical Lenses

by

YMCinema

2021-10-13

News

5 mins read

A brand new glass by ARRI Rental has been introduced. These are two series of large format lenses: ALFA Anamorphic and Moviecam spherical. Let’s read the story behind this new piece of…

Skyfall is the First 007 Movie Shot Digitally (on the ALEXA Cameras)

by

YMCinema

2021-10-08

Educate

3 mins read

While everyone is talking (including us) about the new James Bond that was shot entirely on film cameras, this is an excuse to write about Skyfall, which is the first 007 movie…

Thoughts on Cine Gear 2021: RED, ARRI, Panavision and Canon: Where The F*** Have You Been?

by

YMCinema

2021-09-27

Discuss

3 mins read

Cine Gear is the premiere US cinema technology exhibition for sure. If so, why did all the major companies were absent from this year’s event? Industry leaders like ARRI and RED have…

‘Infamous’ Cinematography: Super 35mm and Extreme Closeups Crafted by DP Eve Cohen

by

YMCinema

2021-09-24

Discuss

2 mins read

The action crime thriller, Infamous, can be used as a case study for cinematographers, filmmakers, and storytellers, among other films that utilized beautiful extreme close-ups combined with dynamic shots in order to…

Netflix’s ‘Into the Night’: Low-Light Cinematography Led by DP Magdalena Gorka

by

YMCinema

2021-09-20

Educate

4 mins read

Since the second season of Netflix’s ‘Into the Night’ was premiered a few days ago, we’d like to take this opportunity to talk about the making. The second season was shot by…

ALEXA Mini LF: The Freedom to Choose Your Desired Format

by

YMCinema

2021-09-06

Educate

5 mins read

With the availability of the new ALEXA Mini LF SUP 7.1, this would be a smart opportunity to overview and elaborate on what the ARRI ALEXA Mini LF has to offer to…

“V” for Velocity: Thoughts About RED’s New 8K Large Format Camera

by

YMCinema

2021-09-02

Discuss

4 mins read

Yesterday was an exciting day for R3D lovers. A completely new high-end (‘flagship’) RED camera was introduced, the V-Raptor, which is RED’s first DSMC3. The Raptor can be defined as hybridization between…

Emmy 2021’s Cameras: Large Format Rules

by

YMCinema

2021-08-30

Discuss

2 mins read

Thanks to IndieWire, its fascinating survey clearly shows us the domination of the large sensors, over the well-respected and traditional Super 35mm format. We analyzed the data and make a chart that…

ARRI - Page 15

ARRIFLEX 765: A Small Tribute to a Big Camera

Onsemi Thanks ARRI for Winning an Emmy for its CMOS Technology

ARRI Rental Introduces New Large-Format Anamorphic & Spherical Lenses

Skyfall is the First 007 Movie Shot Digitally (on the ALEXA Cameras)

Thoughts on Cine Gear 2021: RED, ARRI, Panavision and Canon: Where The F*** Have You Been?

‘Infamous’ Cinematography: Super 35mm and Extreme Closeups Crafted by DP Eve Cohen

Netflix’s ‘Into the Night’: Low-Light Cinematography Led by DP Magdalena Gorka

ALEXA Mini LF: The Freedom to Choose Your Desired Format

“V” for Velocity: Thoughts About RED’s New 8K Large Format Camera

Emmy 2021’s Cameras: Large Format Rules

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