Visionneur d’histoires Instagram

Introducing ARRI Omnibar: compact, modular, battery-powered IP65 LED bars with precise pixel control! Available in 2‑ and 4‑foot lengths, Omnibars offer ARRI light quality and a modular system with flexible mounting, interchangeable optics, and wired as well as wireless control. Built for motion picture, live entertainment, and content creation, Omnibar combines full-spectrum light output, high-resolution effects, modular scalability, and durable weather protection for reliable indoor and outdoor use, whether on set, on stage, or in a small studio.
ㅤ
👉 Watch the full guided tour and learn everything about our newest addition to the ARRI lighting family at arri.com/omnibar (link in bio)!
ㅤ
#ARRI #Omnibar #ARRILighting

More speed. Less data. Building on the ALEXA 35’s foundation, ALEXA 35 Xtreme uses powerful new hardware to deliver Xtreme performance and flexibility, including:

• Higher frame rates for high-speed cinematography, reducing the need for dedicated slow-motion cameras
• Next-generation ARRICORE codec maximizes image quality and postproduction flexibility at lower data rates, saving time and money
• New Sensor Overdrive mode unlocks even higher maximum frame rates for extreme slow motion
• 5x longer pre-recording times, now up to five minutes
• Improved efficiency, with 10% power savings compared to ALEXA 35
• Enhanced wireless connectivity through WiFi 5 GHz band, WiFi roaming, and auto-reconnect to previously known networks

ALEXA 35 Xtreme replaces the original ALEXA 35, delivering the same superior image quality, ease of use, and reliable operation, but with added flexibility and performance—all at no additional cost. To protect your investment, upgrade paths are available for all current ALEXA 35 owners.

🔗 Learn more about features, upgrades, and capabilities at arri.com/alexa35xtreme and head over to YouTube for the full guided tour at link in bio.

#ARRI #ALEXA35Xtreme #capturedwithALEXA35Xtreme #ARRICORE #highspeedshots #highspeedcamera #slowmotion #cinematography #filmmaking

ARRI proudly presents the new Ensō Prime lenses! 🎥✨

Join Art Adams (@artadamsdp) on a Guided Tour as he introduces this versatile lens series. Offering 14 focal lengths and the ability to customize your look, these compact and lightweight lenses adapt to any production.

Inspired by Zen philosophy, Ensō lenses are designed to help you fully embrace your creative flow and bring your vision to life.

Want to learn more? Check the link in bio!
Got questions? Contact: lenses@arri.com

#ARRIEnsōs #EnsōPrimes #Ensōlense #ARRIEnso #ARRIEnsos #EnsoPrimes #Ensolenses #EnsoVintageElements

Additional Cinematography provided by:
Aiden Ulrich (@Aidenulrich)
Joanna Cameron (@joannacamerondp)
Karl Walter Lindenlauub ASC (@kwlindenlaub)
Kate Cornish (@screenkate)
Lali Rubio Panadès (@lalirp)
Michael Schrom (@schromco)
Tom Black (@tomblackdp)
Tom Fährmann
Trudi Gultom (@trudaayy)
Vijay Kartik Kannan (@vijaykartikkannan)

Director Dennis Williams (@menacetodennis) reflects on working with the ALEXA Mini LF. He talks about teaming up Maker’s Mark with WNBA four-time All-Star Kelsey Plum (@kelseyplum10) for the commercial “Perfectly Unreasonable”: "I've been using this model for years and I'm still excited about it. The ease of use, the texture and image output, and cinematography that makes storytelling elevated like none other. It's been amazing." To watch the commercial follow link in ARRI´s bio
ㅤ
Director of Photography Darrin James (@darrin__james)
📷 Credit: Leandro Lara (@lefilmmm)
#ARRI #capturedwithMiniLF
ㅤ

Director Dennis Williams (@menacetodennis) reflects on working with the ALEXA Mini LF. He talks about teaming up Maker’s Mark with WNBA four-time All-Star Kelsey Plum (@kelseyplum10) for the commercial “Perfectly Unreasonable”: "I've been using this model for years and I'm still excited about it. The ease of use, the texture and image output, and cinematography that makes storytelling elevated like none other. It's been amazing." To watch the commercial follow link in ARRI´s bio
ㅤ
Director of Photography Darrin James (@darrin__james)
📷 Credit: Leandro Lara (@lefilmmm)
#ARRI #capturedwithMiniLF
ㅤ

Director Dennis Williams (@menacetodennis) reflects on working with the ALEXA Mini LF. He talks about teaming up Maker’s Mark with WNBA four-time All-Star Kelsey Plum (@kelseyplum10) for the commercial “Perfectly Unreasonable”: "I've been using this model for years and I'm still excited about it. The ease of use, the texture and image output, and cinematography that makes storytelling elevated like none other. It's been amazing." To watch the commercial follow link in ARRI´s bio
ㅤ
Director of Photography Darrin James (@darrin__james)
📷 Credit: Leandro Lara (@lefilmmm)
#ARRI #capturedwithMiniLF
ㅤ

Director Dennis Williams (@menacetodennis) reflects on working with the ALEXA Mini LF. He talks about teaming up Maker’s Mark with WNBA four-time All-Star Kelsey Plum (@kelseyplum10) for the commercial “Perfectly Unreasonable”: "I've been using this model for years and I'm still excited about it. The ease of use, the texture and image output, and cinematography that makes storytelling elevated like none other. It's been amazing." To watch the commercial follow link in ARRI´s bio
ㅤ
Director of Photography Darrin James (@darrin__james)
📷 Credit: Leandro Lara (@lefilmmm)
#ARRI #capturedwithMiniLF
ㅤ

However bad things seem on set, be grateful you’re not having to load film into the mag and camera of an ARRIFLEX 300 blimp. Back in the days before we had sync-sound cameras, a blimp was pretty much your only way of shooting ARRI and recording useable sound on set. Unfortunately, they were huge, heavy, and notoriously fiddly.

If you do find yourself loading one of these things, firstly—please accept our sincere apologies, and secondly—we hope these loading diagrams help.

Glass photo plate and 1957 drawings dug out of the ARRI archive. Check out the hand-drawn classic ARRI logo at the bottom of each sheet!

Learn and explore more with the ARRI History Timeline at 100.arri.com (link in bio).
ㅤ
#ARRI #ARRIHistory #ARRIFLEX

However bad things seem on set, be grateful you’re not having to load film into the mag and camera of an ARRIFLEX 300 blimp. Back in the days before we had sync-sound cameras, a blimp was pretty much your only way of shooting ARRI and recording useable sound on set. Unfortunately, they were huge, heavy, and notoriously fiddly.

If you do find yourself loading one of these things, firstly—please accept our sincere apologies, and secondly—we hope these loading diagrams help.

Glass photo plate and 1957 drawings dug out of the ARRI archive. Check out the hand-drawn classic ARRI logo at the bottom of each sheet!

Learn and explore more with the ARRI History Timeline at 100.arri.com (link in bio).
ㅤ
#ARRI #ARRIHistory #ARRIFLEX

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

Congratulations to all winners of the 79th @festivaldecannes! Thank you for trusting and relying on our gear!

"Fjord" — Directed by @cristian_mungiu. Cinematography by @tudorpanduru RSC. Shot on ALEXA 35 and Master Anamorphic.
"The Dreamed Adventure" — Directed by @valeskagrisebach. Cinematography by Bernhard Keller. Shot on ALEXA 35.
"Fatherland" — Directed by Paweł Pawlikowski. Cinematography by Lukas Zal PSC. Shot on ALEXA 35.
"The Black Ball" — Directed by @javviercalvo & Javier Ambrossi. Cinematography by @grisjordana AEC. Shot on ARRICAM ST (3‑Perf).
"Everytime" — Directed by Sandra Wollner. Cinematography by Gregory Oke. Shot on ALEXA 35.
"Elephants in the Fog" — Directed by @abinashbikramshah. Cinematography by Noé Bach AFC. Shot on ALEXA Mini.
"Ben'Imana" — Directed by Marie Clémentine Dusabejambo. Cinematography by @kash.efx. Shot on ALEXA 35.
"I See Buildings Fall Like Lightning" — Directed by Clio Barnard. Cinematography by @simon.tindall.5. Shot on ARRIFLEX 416.

BTS credits:
"Fjord": Adi Bulboaca
"The Dreamed Adventure": Komplizen Film - Sebastian Hempel
"The Black Ball": Movistar Plus+, El Deseo
"Elephants in the fog": Cyrille Hubert
"Ben'Imana": Courtesy of Filmmaker
"I See Buildings Fall Like Lightning": Courtesy of Filmmaker
ㅤ
#ARRI #Cannes2026 #FestivaldeCannes

ARRI Film Lab allows you to easily add an authentic look of analog film to your footage from any digital camera. See how it works on this footage shot on an ARRI ALEXA 35 camera.
ㅤ
Supporting both ARRI and third-party cameras, ARRI Film Lab is available as an OFX plugin with flexible licenses for Resolve, Baselight, Nuke and more. Explore the plugin with a watermark-free trial for seven days after installation.
ㅤ
For more information check arri.com/filmlab (link in bio)
ㅤ
#ARRI #ARRIFilmLab #PostProduction #FilmLook

As the lights dim on the Croisette and the final credits roll at the 79th Festival de Cannes, one thing once again became clear: unforgettable cinema starts behind the camera. From highly anticipated premieres to award-winning stories, filmmakers across this year’s festival brought their visions to life with ARRI cameras. Our overview graphics reveal how many productions at Cannes 2026 were captured with ARRI cameras.
A big thank you goes to the cinematographers, directors, and crews who continue to shape the future of cinema.
#ARRI #Cannes2026 #FestivaldeCannes #ALEXA35 #ALEXAMiniLF

As the lights dim on the Croisette and the final credits roll at the 79th Festival de Cannes, one thing once again became clear: unforgettable cinema starts behind the camera. From highly anticipated premieres to award-winning stories, filmmakers across this year’s festival brought their visions to life with ARRI cameras. Our overview graphics reveal how many productions at Cannes 2026 were captured with ARRI cameras.
A big thank you goes to the cinematographers, directors, and crews who continue to shape the future of cinema.
#ARRI #Cannes2026 #FestivaldeCannes #ALEXA35 #ALEXAMiniLF

As the lights dim on the Croisette and the final credits roll at the 79th Festival de Cannes, one thing once again became clear: unforgettable cinema starts behind the camera. From highly anticipated premieres to award-winning stories, filmmakers across this year’s festival brought their visions to life with ARRI cameras. Our overview graphics reveal how many productions at Cannes 2026 were captured with ARRI cameras.
A big thank you goes to the cinematographers, directors, and crews who continue to shape the future of cinema.
#ARRI #Cannes2026 #FestivaldeCannes #ALEXA35 #ALEXAMiniLF

As the lights dim on the Croisette and the final credits roll at the 79th Festival de Cannes, one thing once again became clear: unforgettable cinema starts behind the camera. From highly anticipated premieres to award-winning stories, filmmakers across this year’s festival brought their visions to life with ARRI cameras. Our overview graphics reveal how many productions at Cannes 2026 were captured with ARRI cameras.
A big thank you goes to the cinematographers, directors, and crews who continue to shape the future of cinema.
#ARRI #Cannes2026 #FestivaldeCannes #ALEXA35 #ALEXAMiniLF

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

“Choosing the ALEXA 35 Xtreme was one of the easiest creative choices I’ve ever had to make. When @b.k.barone and I were discussing the look we wanted for The All-American Rejects comeback music video, we wanted to lean into something that felt new yet timeless.

Typically, when you’re tasked with shooting high speed, you have to relinquish your dynamic range, but being able to have 11 stops available at 660fps opened up more visual possibilities where we would otherwise be restricted.

We decided to push for a Super 16mm look in camera by shooting on S16 lensing with S16 mode. This allowed us to overdrive the sensor and shoot entirely at 660 frames all day. On set, we intentionally pushed the highlights further with a 1/2 Glimmer to emulate how 16mm would perform.

There were moments on set where 1st AC @amarqz and I would look at each other and say, ‘wow, this actually feels like we’re shooting on film.’

While we built out as much as possible in camera, the entire look was brought to fruition by our brilliant colorist @edwardsdan, who worked with me to build out something that felt truly unique.
For high speed and practical photography, the ALEXA 35 Xtreme will be my go-to for the foreseeable future. It’s truly one of the best systems on the market right now.”

—Cinematographer Scott Siracusano (@scott_siracusano) on lensing The All-American Rejects, “King Kong” music video.

#ALEXA35 #ARRI

Fun times for ALEXA 35! DP Camilla Topuntoli (@camilla_topuntoli_dop) recently mounted an ALEXA 35 on a 100 km/h rollercoaster during a commercial shoot for Liseberg, one of Scandinavia’s best-loved theme parks. “It held everything together beautifully,” says Topuntoli. “We were able to keep detail in highlights, skin tones, and shadows while everything around us was moving like crazy. The clean, cinematic image really allowed us to focus on the storytelling and the energy of the performances. I was honestly very happy with how the ALEXA 35 performed. It gave me a lot of confidence on set, especially in such unpredictable conditions, with fast movement, changing light, and a pretty demanding physical setup.”

Agency: Forsman & Bodenfors
Creatives: Nina Friman, Anna Karlsson, Maria Melkersson
Agency producer: Åsa Hammar
Project manager: Anneli Kjellander
Production company: F&B Studios
Producer: Henrietta Sterner
Director: Lina Eriksson
Colorist: Jimmy Wulff
VFX: Emil Gradén Team
DP: Camilla Topuntoli
Camera ass: Anton Bergström
Gaffer: Luisa Fanciulacci
FAD: Svante Åhman
Best boy: David Ostad, Oscar Klingberg
Grip: Peter Eile
Location manager: Linda Hante Engström
Production assistant: Tess Tammer
Prop master: Theresia Caballero Knevel
Stylist: Lina Magassa
MUA: Johanna Persson
Rental: @storylinerentalse
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

Fun times for ALEXA 35! DP Camilla Topuntoli (@camilla_topuntoli_dop) recently mounted an ALEXA 35 on a 100 km/h rollercoaster during a commercial shoot for Liseberg, one of Scandinavia’s best-loved theme parks. “It held everything together beautifully,” says Topuntoli. “We were able to keep detail in highlights, skin tones, and shadows while everything around us was moving like crazy. The clean, cinematic image really allowed us to focus on the storytelling and the energy of the performances. I was honestly very happy with how the ALEXA 35 performed. It gave me a lot of confidence on set, especially in such unpredictable conditions, with fast movement, changing light, and a pretty demanding physical setup.”

Agency: Forsman & Bodenfors
Creatives: Nina Friman, Anna Karlsson, Maria Melkersson
Agency producer: Åsa Hammar
Project manager: Anneli Kjellander
Production company: F&B Studios
Producer: Henrietta Sterner
Director: Lina Eriksson
Colorist: Jimmy Wulff
VFX: Emil Gradén Team
DP: Camilla Topuntoli
Camera ass: Anton Bergström
Gaffer: Luisa Fanciulacci
FAD: Svante Åhman
Best boy: David Ostad, Oscar Klingberg
Grip: Peter Eile
Location manager: Linda Hante Engström
Production assistant: Tess Tammer
Prop master: Theresia Caballero Knevel
Stylist: Lina Magassa
MUA: Johanna Persson
Rental: @storylinerentalse
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

Fun times for ALEXA 35! DP Camilla Topuntoli (@camilla_topuntoli_dop) recently mounted an ALEXA 35 on a 100 km/h rollercoaster during a commercial shoot for Liseberg, one of Scandinavia’s best-loved theme parks. “It held everything together beautifully,” says Topuntoli. “We were able to keep detail in highlights, skin tones, and shadows while everything around us was moving like crazy. The clean, cinematic image really allowed us to focus on the storytelling and the energy of the performances. I was honestly very happy with how the ALEXA 35 performed. It gave me a lot of confidence on set, especially in such unpredictable conditions, with fast movement, changing light, and a pretty demanding physical setup.”

Agency: Forsman & Bodenfors
Creatives: Nina Friman, Anna Karlsson, Maria Melkersson
Agency producer: Åsa Hammar
Project manager: Anneli Kjellander
Production company: F&B Studios
Producer: Henrietta Sterner
Director: Lina Eriksson
Colorist: Jimmy Wulff
VFX: Emil Gradén Team
DP: Camilla Topuntoli
Camera ass: Anton Bergström
Gaffer: Luisa Fanciulacci
FAD: Svante Åhman
Best boy: David Ostad, Oscar Klingberg
Grip: Peter Eile
Location manager: Linda Hante Engström
Production assistant: Tess Tammer
Prop master: Theresia Caballero Knevel
Stylist: Lina Magassa
MUA: Johanna Persson
Rental: @storylinerentalse
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

Fun times for ALEXA 35! DP Camilla Topuntoli (@camilla_topuntoli_dop) recently mounted an ALEXA 35 on a 100 km/h rollercoaster during a commercial shoot for Liseberg, one of Scandinavia’s best-loved theme parks. “It held everything together beautifully,” says Topuntoli. “We were able to keep detail in highlights, skin tones, and shadows while everything around us was moving like crazy. The clean, cinematic image really allowed us to focus on the storytelling and the energy of the performances. I was honestly very happy with how the ALEXA 35 performed. It gave me a lot of confidence on set, especially in such unpredictable conditions, with fast movement, changing light, and a pretty demanding physical setup.”

Agency: Forsman & Bodenfors
Creatives: Nina Friman, Anna Karlsson, Maria Melkersson
Agency producer: Åsa Hammar
Project manager: Anneli Kjellander
Production company: F&B Studios
Producer: Henrietta Sterner
Director: Lina Eriksson
Colorist: Jimmy Wulff
VFX: Emil Gradén Team
DP: Camilla Topuntoli
Camera ass: Anton Bergström
Gaffer: Luisa Fanciulacci
FAD: Svante Åhman
Best boy: David Ostad, Oscar Klingberg
Grip: Peter Eile
Location manager: Linda Hante Engström
Production assistant: Tess Tammer
Prop master: Theresia Caballero Knevel
Stylist: Lina Magassa
MUA: Johanna Persson
Rental: @storylinerentalse
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

Fun times for ALEXA 35! DP Camilla Topuntoli (@camilla_topuntoli_dop) recently mounted an ALEXA 35 on a 100 km/h rollercoaster during a commercial shoot for Liseberg, one of Scandinavia’s best-loved theme parks. “It held everything together beautifully,” says Topuntoli. “We were able to keep detail in highlights, skin tones, and shadows while everything around us was moving like crazy. The clean, cinematic image really allowed us to focus on the storytelling and the energy of the performances. I was honestly very happy with how the ALEXA 35 performed. It gave me a lot of confidence on set, especially in such unpredictable conditions, with fast movement, changing light, and a pretty demanding physical setup.”

Agency: Forsman & Bodenfors
Creatives: Nina Friman, Anna Karlsson, Maria Melkersson
Agency producer: Åsa Hammar
Project manager: Anneli Kjellander
Production company: F&B Studios
Producer: Henrietta Sterner
Director: Lina Eriksson
Colorist: Jimmy Wulff
VFX: Emil Gradén Team
DP: Camilla Topuntoli
Camera ass: Anton Bergström
Gaffer: Luisa Fanciulacci
FAD: Svante Åhman
Best boy: David Ostad, Oscar Klingberg
Grip: Peter Eile
Location manager: Linda Hante Engström
Production assistant: Tess Tammer
Prop master: Theresia Caballero Knevel
Stylist: Lina Magassa
MUA: Johanna Persson
Rental: @storylinerentalse
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

Fun times for ALEXA 35! DP Camilla Topuntoli (@camilla_topuntoli_dop) recently mounted an ALEXA 35 on a 100 km/h rollercoaster during a commercial shoot for Liseberg, one of Scandinavia’s best-loved theme parks. “It held everything together beautifully,” says Topuntoli. “We were able to keep detail in highlights, skin tones, and shadows while everything around us was moving like crazy. The clean, cinematic image really allowed us to focus on the storytelling and the energy of the performances. I was honestly very happy with how the ALEXA 35 performed. It gave me a lot of confidence on set, especially in such unpredictable conditions, with fast movement, changing light, and a pretty demanding physical setup.”

Agency: Forsman & Bodenfors
Creatives: Nina Friman, Anna Karlsson, Maria Melkersson
Agency producer: Åsa Hammar
Project manager: Anneli Kjellander
Production company: F&B Studios
Producer: Henrietta Sterner
Director: Lina Eriksson
Colorist: Jimmy Wulff
VFX: Emil Gradén Team
DP: Camilla Topuntoli
Camera ass: Anton Bergström
Gaffer: Luisa Fanciulacci
FAD: Svante Åhman
Best boy: David Ostad, Oscar Klingberg
Grip: Peter Eile
Location manager: Linda Hante Engström
Production assistant: Tess Tammer
Prop master: Theresia Caballero Knevel
Stylist: Lina Magassa
MUA: Johanna Persson
Rental: @storylinerentalse
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

What you didn’t see on TV at @eurovision 🎬

Behind every shot at Eurovision 2026 — 24 ARRI ALEXA 35 Live cameras. The first time the world’s biggest live music event has ever been shot entirely on cinema cameras.

@cinednews spent 6 weeks embedded with @arri, from the OB Van build in Munich to the grand finale in Vienna. The rigging, the troubleshooting, the look development, the moments before going live to 150 million viewers.

Full behind-the-scenes documentary coming soon to the CineD and ARRI YouTube channels.

#ARRI #ALEXA35Live #Eurovision #Eurovision2026 #ESC2026

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“The way the ALEXA 35 captures flames is pure magic,” says Anthony Deveney (@anthonydev6), who hosts @raidersofthelostpodcast alongside his twin brother James. With Anthony as writer/director and James as producer, the podcast duo recently shot a trailer/proof-of-concept for a Gothic horror film called “Der Sandmann” on ARRI’s ALEXA 35 camera together with DP Griffin Voth (@griffinvdp). Anthony continues: “We loved the camera system’s incredible flexibility with light and massive dynamic range. It allowed us to film with lots of practical firelight.”

Watch the trailer, in which a ghostly demon begins preying on the children of a remote 19th-century village at the link in bio!
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI