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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.
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👉 Watch the full guided tour and learn everything about our newest addition to the ARRI lighting family at arri.com/omnibar (link in bio)!
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#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)

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
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#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

“For the AIRELOOM spot I needed a system I could trust completely, whether I was building the light from scratch or working with what nature gave me. The ALEXA 35's dynamic range meant I never felt like I was losing the highlights or crushing the shadows; the image just held beautifully, even as conditions shifted. ALEXA 35 is the most complete tool I've found for both commercial and narrative work,” says DP Cooper Ulrich (@cooperulrich), who shot the latest commercial from AIRELOOM with ARRI’s ALEXA 35 camera and TRINITY 2 stabilizer.

“A major rainstorm hit on day one. Rather than fight it, I leaned in, and that ended up being one of my favorite looks in the spot. We were lighting multiple setups simultaneously, including one that transitioned from evening to dusk to night within the spot itself, which meant I was adjusting exposure constantly. The ALEXA 35 gave me the confidence to chase that in real time, knowing the image would hold no matter where the light landed," explains Ulrich. “We were on a tight schedule, with complex, dynamic camera moves; the TRINITY 2 let us capture dynamic stabilized shots quickly, keeping pace with production without losing the elegance the brand demanded.”

Director: Paulina Lagudi Ulrich (@paulinalagudiulrich)
Production company: @saylittle_
DP: Cooper Ulrich (@cooperulrich)
Colorist: Arianna Shining Star (@ariannashiningstar)
Composer: Robert Mai (@robbysharp)
TRINITY operator: Quaid Cde Baca (@quaidcdebaca)
1st AC: Brandon Ripp (@brandonripp)
Still photographer: Fiorella Occhipinti (@fiorella_occhipinti)
Gaffer: Luka Pascalicchio (@lukapouki)
Key grip: Mark Beckerman (@mark_beckerman)
PD: Abbie Vance (@abvanced)
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#ARRI #ALEXA35 #CapturedWithARRI #TRINITY2

Everything you need to know about the @arri x NEP collaboration at the Eurovision!😉

#ESC26 #livebroadcast

ARRI ALEXA 35 Live at Eurovision 2026 - CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History


For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world's biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of(…)

Read more on CineD.com, link in bio!

ARRI ALEXA 35 Live at Eurovision 2026 - CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History


For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world's biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of(…)

Read more on CineD.com, link in bio!

ARRI ALEXA 35 Live at Eurovision 2026 - CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History


For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world's biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of(…)

Read more on CineD.com, link in bio!

ARRI ALEXA 35 Live at Eurovision 2026 - CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History


For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world's biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of(…)

Read more on CineD.com, link in bio!

ARRI ALEXA 35 Live at Eurovision 2026 - CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History


For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world's biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of(…)

Read more on CineD.com, link in bio!

ARRI ALEXA 35 Live at Eurovision 2026 - CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History


For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world's biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of(…)

Read more on CineD.com, link in bio!

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

The unforgettable magic of the Eurovision Song Contest starts behind the scenes ✨

With NEP as technical supplier and @arri cameras, including the ALEXA Live 35, delivering breathtaking cinematic shots, and @riedelcommunications keeping communication seamless across the entire production, ESC 2026 became a true visual masterpiece. 🎥

A huge shoutout to NEP’s and ORF’s world-class camera operators and technical teams whose expertise brought every moment to life on screen.
Who would’ve thought that such an incredible technical collaboration could create one of the best shows ever? 🌍✨

📸: Alberto Morand/ NEP Europe

#ESC2026 #ARRI #ALEXALive35 #NEP #LiveProduction

"Is God Is"is a revenge thriller set against the heat and haze of the "Dirty South".
ㅤ
Twin sisters Racine and Anaïs set out on a relentless journey to track down the father who shattered their childhood, following a trail shaped by trauma, memory, and survival. What unfolds is a spare, stylized confrontation with the past—where justice and identity blur.
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Shot by cinematographer Alexander Dynan (@alexanderdynan) on the ALEXA 35, with camera and lenses supplied by ARRI Rental US
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📷 Director Aleshea Harris on the set of "Is God Is". Patti Perret © 2026 Amazon Content Services LLC. All Rights Reserved
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In cinemas May 15th
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#ARRIRental #ARRI #ALEXA35 #IsGodIs

"Is God Is"is a revenge thriller set against the heat and haze of the "Dirty South".
ㅤ
Twin sisters Racine and Anaïs set out on a relentless journey to track down the father who shattered their childhood, following a trail shaped by trauma, memory, and survival. What unfolds is a spare, stylized confrontation with the past—where justice and identity blur.
ㅤ
Shot by cinematographer Alexander Dynan (@alexanderdynan) on the ALEXA 35, with camera and lenses supplied by ARRI Rental US
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📷 Director Aleshea Harris on the set of "Is God Is". Patti Perret © 2026 Amazon Content Services LLC. All Rights Reserved
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In cinemas May 15th
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#ARRIRental #ARRI #ALEXA35 #IsGodIs

"Is God Is"is a revenge thriller set against the heat and haze of the "Dirty South".
ㅤ
Twin sisters Racine and Anaïs set out on a relentless journey to track down the father who shattered their childhood, following a trail shaped by trauma, memory, and survival. What unfolds is a spare, stylized confrontation with the past—where justice and identity blur.
ㅤ
Shot by cinematographer Alexander Dynan (@alexanderdynan) on the ALEXA 35, with camera and lenses supplied by ARRI Rental US
ㅤ
📷 Director Aleshea Harris on the set of "Is God Is". Patti Perret © 2026 Amazon Content Services LLC. All Rights Reserved
ㅤ
In cinemas May 15th
ㅤ
#ARRIRental #ARRI #ALEXA35 #IsGodIs

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

Take a look behind the scenes of movies entered in this year’s Main Competition at the Cannes Film Festival that were captured with ARRI! Who will win the Palme d’Or in 2026? We wish all the filmmakers good luck 🍀

BTS photo credits:
“The Beloved”:©️Caballo Films -Maria Heras
“Fjord”:©️Adi Bulboaca
“Paper Tiger”:©️Nicole Rivelli
“Coward”:©️Zeb Daemen
“Bitter Christmas”:©️El Deseo - Iglesias Mas
“Parallel Tales”:©️Carole Bethuel
“The Unknown”:©️Bastien Capela

#ARRI #Cannes2026 #CapturedWithARRI

“Using the ARRI ALEXA 35 and its G522 Soft Nostalgic ARRI Texture, we embraced fragility over clarity, crafting an image that feels estranged, soft, and suspended within a liminal space,” says Indonesian DP Dendy Ariza Putra (@dendyarizaputra) about his work with the ALEXA 35 and ARRI Ultra Prime lenses on the short film “What the Water Keeps.”
He specifically highlights how ARRI’s Soft Nostalgic texture helped him achieve his visual goals: “The visual language in our film is built upon a deliberate sense of discomfort. We were not searching for something clean or clinically sharp. This is where the ARRI ALEXA 35 became essential, particularly through its built-in ARRI Textures. The Soft Nostalgic texture allowed us to embrace something more intimate and vulnerable.”
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👉 Learn more about ARRI Textures at arri.com/textures (link in bio)

Producer/DP: Dendy Ariza Putra
Director: Bramuda
1st AC: Fatkhu
2nd AC: Edo Setiawan
Rigging grip: Sondang JCM
Gaffer: Aji Oktabrian
Best boy: Jardin Kurnia Haq
Lightman: M Naufal Pratama
Lightman: Muhaimin Atmaja
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“Using the ARRI ALEXA 35 and its G522 Soft Nostalgic ARRI Texture, we embraced fragility over clarity, crafting an image that feels estranged, soft, and suspended within a liminal space,” says Indonesian DP Dendy Ariza Putra (@dendyarizaputra) about his work with the ALEXA 35 and ARRI Ultra Prime lenses on the short film “What the Water Keeps.”
He specifically highlights how ARRI’s Soft Nostalgic texture helped him achieve his visual goals: “The visual language in our film is built upon a deliberate sense of discomfort. We were not searching for something clean or clinically sharp. This is where the ARRI ALEXA 35 became essential, particularly through its built-in ARRI Textures. The Soft Nostalgic texture allowed us to embrace something more intimate and vulnerable.”
ㅤ
👉 Learn more about ARRI Textures at arri.com/textures (link in bio)

Producer/DP: Dendy Ariza Putra
Director: Bramuda
1st AC: Fatkhu
2nd AC: Edo Setiawan
Rigging grip: Sondang JCM
Gaffer: Aji Oktabrian
Best boy: Jardin Kurnia Haq
Lightman: M Naufal Pratama
Lightman: Muhaimin Atmaja
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“Using the ARRI ALEXA 35 and its G522 Soft Nostalgic ARRI Texture, we embraced fragility over clarity, crafting an image that feels estranged, soft, and suspended within a liminal space,” says Indonesian DP Dendy Ariza Putra (@dendyarizaputra) about his work with the ALEXA 35 and ARRI Ultra Prime lenses on the short film “What the Water Keeps.”
He specifically highlights how ARRI’s Soft Nostalgic texture helped him achieve his visual goals: “The visual language in our film is built upon a deliberate sense of discomfort. We were not searching for something clean or clinically sharp. This is where the ARRI ALEXA 35 became essential, particularly through its built-in ARRI Textures. The Soft Nostalgic texture allowed us to embrace something more intimate and vulnerable.”
ㅤ
👉 Learn more about ARRI Textures at arri.com/textures (link in bio)

Producer/DP: Dendy Ariza Putra
Director: Bramuda
1st AC: Fatkhu
2nd AC: Edo Setiawan
Rigging grip: Sondang JCM
Gaffer: Aji Oktabrian
Best boy: Jardin Kurnia Haq
Lightman: M Naufal Pratama
Lightman: Muhaimin Atmaja
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

“Using the ARRI ALEXA 35 and its G522 Soft Nostalgic ARRI Texture, we embraced fragility over clarity, crafting an image that feels estranged, soft, and suspended within a liminal space,” says Indonesian DP Dendy Ariza Putra (@dendyarizaputra) about his work with the ALEXA 35 and ARRI Ultra Prime lenses on the short film “What the Water Keeps.”
He specifically highlights how ARRI’s Soft Nostalgic texture helped him achieve his visual goals: “The visual language in our film is built upon a deliberate sense of discomfort. We were not searching for something clean or clinically sharp. This is where the ARRI ALEXA 35 became essential, particularly through its built-in ARRI Textures. The Soft Nostalgic texture allowed us to embrace something more intimate and vulnerable.”
ㅤ
👉 Learn more about ARRI Textures at arri.com/textures (link in bio)

Producer/DP: Dendy Ariza Putra
Director: Bramuda
1st AC: Fatkhu
2nd AC: Edo Setiawan
Rigging grip: Sondang JCM
Gaffer: Aji Oktabrian
Best boy: Jardin Kurnia Haq
Lightman: M Naufal Pratama
Lightman: Muhaimin Atmaja
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
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Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

The 79th Festival de Cannes is starting today with the screening of the French film "La Vénus électrique," shot by DP Julien Poupard with the ALEXA Mini LF. The opening film is just one of many at the festival that were captured with ARRI cameras. Take a look at the statistics for this year’s Main Competition in our overview graphic 🎥
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#ARRI #CapturedWithARRI #Cannes2026 #FestivaldeCannes

The 79th Festival de Cannes is starting today with the screening of the French film "La Vénus électrique," shot by DP Julien Poupard with the ALEXA Mini LF. The opening film is just one of many at the festival that were captured with ARRI cameras. Take a look at the statistics for this year’s Main Competition in our overview graphic 🎥
ㅤ
#ARRI #CapturedWithARRI #Cannes2026 #FestivaldeCannes