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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)

Meet the ARRI Omnibar. An illustration collaboration with @arri for their new LED light bar #arri #omnibar #arrilighting

May the 4th be with you 💫 To celebrate Star Wars Day and the 10-year anniversary of "Rogue One: A Star Wars Story," we're taking a look back at the fantastic work of cinematographer Greig Fraser ASC, ACS on this critically lauded spin-off movie. “Rogue One” was actually the first film shot entirely with ARRI Rental’s ALEXA 65, and Greig has continued to use the camera since then, including on the recently released “Project Hail Mary.”
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👉 Head to the link in our bio to read our original behind-the-scenes article, incorporating a video interview shot with Greig at Camerimage 2016, where he revealed why he and director Gareth Edwards turned to the 65 mm format for "Rogue One" and how it marked the beginning of a new era in cinematography for him.
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#ARRIRental #ARRI #ALEXA65 #StarWars #CapturedWithARRI

May the 4th be with you 💫 To celebrate Star Wars Day and the 10-year anniversary of "Rogue One: A Star Wars Story," we're taking a look back at the fantastic work of cinematographer Greig Fraser ASC, ACS on this critically lauded spin-off movie. “Rogue One” was actually the first film shot entirely with ARRI Rental’s ALEXA 65, and Greig has continued to use the camera since then, including on the recently released “Project Hail Mary.”
ㅤ
👉 Head to the link in our bio to read our original behind-the-scenes article, incorporating a video interview shot with Greig at Camerimage 2016, where he revealed why he and director Gareth Edwards turned to the 65 mm format for "Rogue One" and how it marked the beginning of a new era in cinematography for him.
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#ARRIRental #ARRI #ALEXA65 #StarWars #CapturedWithARRI

May the 4th be with you 💫 To celebrate Star Wars Day and the 10-year anniversary of "Rogue One: A Star Wars Story," we're taking a look back at the fantastic work of cinematographer Greig Fraser ASC, ACS on this critically lauded spin-off movie. “Rogue One” was actually the first film shot entirely with ARRI Rental’s ALEXA 65, and Greig has continued to use the camera since then, including on the recently released “Project Hail Mary.”
ㅤ
👉 Head to the link in our bio to read our original behind-the-scenes article, incorporating a video interview shot with Greig at Camerimage 2016, where he revealed why he and director Gareth Edwards turned to the 65 mm format for "Rogue One" and how it marked the beginning of a new era in cinematography for him.
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#ARRIRental #ARRI #ALEXA65 #StarWars #CapturedWithARRI

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
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👉 Learn more about ARRI textures at arri.com/textures (link in bio)
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Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
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#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
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👉 Learn more about ARRI textures at arri.com/textures (link in bio)
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Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
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#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
ㅤ
👉 Learn more about ARRI textures at arri.com/textures (link in bio)
ㅤ
Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
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#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
ㅤ
👉 Learn more about ARRI textures at arri.com/textures (link in bio)
ㅤ
Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
ㅤ
👉 Learn more about ARRI textures at arri.com/textures (link in bio)
ㅤ
Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
ㅤ
👉 Learn more about ARRI textures at arri.com/textures (link in bio)
ㅤ
Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
ㅤ
👉 Learn more about ARRI textures at arri.com/textures (link in bio)
ㅤ
Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
ㅤ
#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

“On 'A Tribe Called Love,' shooting with the ARRI ALEXA 35 came down to practicality and aesthetics. I wanted a camera package that was condensed, nimble, and versatile. The in-camera textures were a bonus—a film-like quality I reach for on every project, budget permitting or not. I always try to shoot a lot of projects on film, and when the budget doesn't really call for it, the ALEXA 35 is exactly the tool for the job,” says cinematographer Liam Higgings on using ALEXA 35 with the Nostalgic texture on “A Tribe Called Love.” In this new feature film, two Somali youths in a Toronto neighbourhood choose to love each other despite the inevitable conflict they will face because they come from rival tribes.
ㅤ
👉 Learn more about ARRI textures at arri.com/textures (link in bio)
ㅤ
Writer/director: Mohamed Ahmed
Production company: @mahaicapoint
Executive producers: @aakdari, @dalmarabuzeid, Trevor Duwyn, Jeremy Hood
Line producer: Candice Chow-How
Producer: @marshallfmt
Production manager: @the.sam.bones
1st AD: @bigphepburn
2nd AD: @abrahamdawod
Script supervisor: Andrea Maxwell
DP: @liamhiggins
1st AC: @13thmovement
2nd AC: @dp.chiripa
Gaffer: @jordanheguy
Best electric: @jhongult
Key grip: @childish_creative
Dolly grip: Christopher Noble, Jarrett Murray
Casting director: @gorinstephanie
Wardrobe: @jeannette.n.linton
Production designer: msjunecharles
Art dept: @reanaole @shharine
MUA: Safiya Daley roxannedenobrega, @nomakeupwipes
Editor: @brettrostrup
Postproduction: @rollingpicturesca
Colorist: @clintonhomuth
Color studio: @artjail
Color producer: Allison Kinnear
Special thanks from the cinematographer to @keslowcamera @kodak
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#ARRI #ALEXA35 #CapturedWithARRI #ATribeCalledLove

Soon to be revealed: our newest addition to the ARRI lighting family 💡 The countdown is on – stay tuned for the release on May 5th!
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#ARRI #ARRILighting #Omnibar

“We wanted the ALEXA Mini LF to fully inhabit that subjective world, and the camera was key in achieving that immersion. Our framing often deliberately cropped reality, limiting what could be seen to the children’s perspective and leaving much of the world out of frame. In that sense, the large format allowed us to maintain a strong sense of presence and depth within those constrained frames, ensuring that what remained visible felt expansive, tactile, and immersive rather than reduced” says director Eduardo Braun Costa on using the ALEXA Mini LF for the narrative short film “The Liars.” In this short film, currently screening at Sundance CDMX, cinematographer Federico Lastra and director Eduardo Braun Costa created the world of two children growing up in a fragile social environment in Argentina in the early 2000s.

Director: Eduardo Braun Costa (@ed.braun)
DP: Federico Lastra (@lastraland)
Producers: Manuel Aguer (@manuaguer), Natasha Gurfinkel (@natugurfi)
Color Grading: Julien Alary (@julienalary_color)
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#ARRI #ALEXAMiniLF #CapturedwithARRI

“We wanted the ALEXA Mini LF to fully inhabit that subjective world, and the camera was key in achieving that immersion. Our framing often deliberately cropped reality, limiting what could be seen to the children’s perspective and leaving much of the world out of frame. In that sense, the large format allowed us to maintain a strong sense of presence and depth within those constrained frames, ensuring that what remained visible felt expansive, tactile, and immersive rather than reduced” says director Eduardo Braun Costa on using the ALEXA Mini LF for the narrative short film “The Liars.” In this short film, currently screening at Sundance CDMX, cinematographer Federico Lastra and director Eduardo Braun Costa created the world of two children growing up in a fragile social environment in Argentina in the early 2000s.

Director: Eduardo Braun Costa (@ed.braun)
DP: Federico Lastra (@lastraland)
Producers: Manuel Aguer (@manuaguer), Natasha Gurfinkel (@natugurfi)
Color Grading: Julien Alary (@julienalary_color)
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#ARRI #ALEXAMiniLF #CapturedwithARRI

“We wanted the ALEXA Mini LF to fully inhabit that subjective world, and the camera was key in achieving that immersion. Our framing often deliberately cropped reality, limiting what could be seen to the children’s perspective and leaving much of the world out of frame. In that sense, the large format allowed us to maintain a strong sense of presence and depth within those constrained frames, ensuring that what remained visible felt expansive, tactile, and immersive rather than reduced” says director Eduardo Braun Costa on using the ALEXA Mini LF for the narrative short film “The Liars.” In this short film, currently screening at Sundance CDMX, cinematographer Federico Lastra and director Eduardo Braun Costa created the world of two children growing up in a fragile social environment in Argentina in the early 2000s.

Director: Eduardo Braun Costa (@ed.braun)
DP: Federico Lastra (@lastraland)
Producers: Manuel Aguer (@manuaguer), Natasha Gurfinkel (@natugurfi)
Color Grading: Julien Alary (@julienalary_color)
ㅤ
#ARRI #ALEXAMiniLF #CapturedwithARRI

“We wanted the ALEXA Mini LF to fully inhabit that subjective world, and the camera was key in achieving that immersion. Our framing often deliberately cropped reality, limiting what could be seen to the children’s perspective and leaving much of the world out of frame. In that sense, the large format allowed us to maintain a strong sense of presence and depth within those constrained frames, ensuring that what remained visible felt expansive, tactile, and immersive rather than reduced” says director Eduardo Braun Costa on using the ALEXA Mini LF for the narrative short film “The Liars.” In this short film, currently screening at Sundance CDMX, cinematographer Federico Lastra and director Eduardo Braun Costa created the world of two children growing up in a fragile social environment in Argentina in the early 2000s.

Director: Eduardo Braun Costa (@ed.braun)
DP: Federico Lastra (@lastraland)
Producers: Manuel Aguer (@manuaguer), Natasha Gurfinkel (@natugurfi)
Color Grading: Julien Alary (@julienalary_color)
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#ARRI #ALEXAMiniLF #CapturedwithARRI

cforce MAX - two truths and a lie:
1) It's the fastest lens motor out there.
2) You can personalize the touchscreen.
3) It’s smaller than the cforce mini RF.

Wait…they’re all true!
Check out the guided tour for more true facts on the cforce MAX.
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#ARRI #ARRIECS #Hi5Ecosystem #cforceMAX #lensmotors

Ultimate power and speed.
👋 Meet cforce MAX—ARRI’s newest lens motor in cooperation with cmotion, delivering unrivalled speed in a compact design. Powered by a super-responsive brushless motor, it is your go-to lens motor for fast, dynamic action!
Discover more on the ARRI website (link in bio).
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#ARRI #ARRIECS #Hi5Ecosystem #cforceMAX #lensmotors

Xtreme talent captured with ARRI technology: Watch the new ESPN commercial featuring LeBron James and his son Bronny promoting both the NBA playoffs and Christopher Nolan’s upcoming film “The Odyssey.” DP Andrea Gavazzi captured the stunning slow-motion shots of LeBron and Bronny James with the ALEXA 35 Xtreme and ARRI Signature Primes 🔥
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Directed by: @leseanharris
DP: @andgavazzi
A @fela.tv Production
Executive Producers: @tajtheblacklion @deanrosen @boxwinefather
Executive Producer/Producer: @fulianepetikyan
Steadicam: @g2arch @jamesmarin3
1st AC - A Cam: @theloniousfawkes
1st AC - B Cam: Hannah Lee
2nd AC: @ramonedeShawn_
DIT: Issac Guy
Key Grip: @wadsworthgrip
CLT: @dicknurr
Production Designer: @i_t_a_r_u_
@church_edit
Editor: @nick.yumul
@ethos_studio: @dantegiani
Sound Design: @concrete.form
VFX: @cameofx
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#ARRI #ALEXA35Xtreme #ARRISignaturePrimes #ALEXA35 #CapturedWithARRI

👋 Say hello to your new best friend on set!
Ultimate speed and power - coming soon.
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#ARRI #ARRIECS