“Backmask” Official Trailer
Cinematographer Sy Turnball shares shooting with ARRI Rental’s exclusive DNA lenses on the upcoming short “Backmask”:
“‘Backmask’ takes place in the 70s in a beautiful historic house, full of original fittings and ornate details. Directors Matt Fitch and Chris Baker and I envisioned the palettes across all departments to be rich in color, with deep blacks. The DNA lenses render color beautifully and with a softness that feels incredibly natural. They retain just the right amount of contrast that I desired. Paired with an ARRI ALEXA Mini LF, I found that I could shoot a portrait predominantly lit with a single clear bulb in frame and still retain the detail of the bulb.
Thank you, ARRI Rental, for supporting this project."
Behind the scenes of “Back to Black” | Polly Morgan ASC, BSC discusses crafting the look
Cinematographer Polly Morgan ASC, BSC returns to the Super 35 format with the ARRI #ALEXA35 and combines a mix of lenses with a bleach bypass emulation LUT to craft a unique look for director Sam Taylor-Johnson’s "Back to Black" biopic about Amy Winehouse.
“House of the Dragon” - Season 2 Official Trailer
“House of the Dragon” Season 2 dropped its latest trailer. Which side are you on?
Captured by cinematographers PJ Dillon ASC, ISC, Alejandro Martinez, Catherine Goldschmidt BSC, and Vanja Černul ASC with the #ALEXA35 on ARRI Rental’s exclusive #ALFA lenses provided by ARRI Rental UK. Set to stream June 2024.
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#GoTprequel #HouseoftheDragon #TeamBlack #TeamGreen #CapturedwithALEXA35
“The Acolyte” - Official Trailer
Here’s a look at what to expect from the new Star Wars series “The Acolyte”, which is set to arrive on Disney+ on June 4. Captured by DPs Chris Teague and James Friend ASC, BSC with ARRI Rental's exclusive #ALFA anamorphic lenses. Serviced by ARRI Rental UK.
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#ARRIRental #TheAcolyte #Cinematography #Optics #Anamorphiclenses
First look at “Wicked"
Sneak peek of the movie, "Wicked," captured by Alice Brooks ASC on the #ALEXA65 provided by #ARRIRental UK.
Fred. Olsen Cruise Lines
Cinematographer Dan Bronks, "I chose the #DNALF lenses for the Fred. Olsen Cruise Lines film because they look beautiful with natural light and artificial light. I loved the images when shooting portraiture with real people, even shooting with documentary resources they rendered elegant cinematic images in any lighting conditions. The ALEXA Mini LF and DNAs are a great combination."
Client: Fred. Olsen Cruise Lines
Production Company: FLIPT
Director: Kit Lynch-Robinson
Executive Producer: Philippa Thomas
Producer: Trent Simpson
PM: Boris Franchi
PA: Steven Charalambous
Drone & Chicken: Andrew Seggins
Minicams Operator: Luke Clarke
1st Assistant Camera: James Smith
2nd Assistant Camera: Lydia Stott
DIT: Luke McCarthy
Amazon Business - Bloom
Here’s a great new film for Amazon Business, created by agency Joint London in collaboration with Outsider and directing duo DOM&NIC, post house The Mill, and the team at ARRI Stage London. All told in one continuous take, “Bloom” is the first scripted TV commercial specifically designed to use the 360-degree virtual production technology at ARRI’s state-of-the-art VP facility. ARRI Rental supported with camera equipment.
The Outsider team explains: “This work wanted to reflect a campaign that speaks to a more compelling, human side of business and it was up to directors DOM&NIC to find out the most innovative and exciting way to do that: virtual production - it’s still very new and it’s ever-evolving but it’s a technology we’re having a lot of fun with and getting really good at!”
#virtualproduction #ARRIStageLondon #ARRISolutions #CreativeWithTechnology #ARRIRental
Client: Amazon Business
Title: Bloom
Agency: Joint London
Creatives: Nathan Holley, Tom Cauvain
TV Producer: Kate Grenfell, Gorini Claudio
Production Company: Outsider
Directors: DOM&NIC
Producer: John Madsen
DP: Stephen Keith-roach
Post Production: The Mill
Volume Stage: ARRI Stage London by ARRI Solutions and Creative Technology
Camera equipment: ARRI Rental (ALEXA LF & Signature Prime lenses)
ALEXA 65, DNA lenses, and SkyPanel lights on “A Boy Called Christmas”
Cinematographer Zac Nicholson BSC and 1st AC Tobias Eedy talk about working with #ARRIRental’s exclusive #ALEXA65 camera and #PrimeDNA lenses on “A Boy Called Christmas,” directed by Gil Kenan. The unique aesthetic of the 65 mm format and characterful optical performance of the DNAs allowed the filmmakers to create a unique look for this colorful festive film. Gaffer Jonny Franklin also discusses how ARRI SkyPanel LED lights helped the crew make rapid color changes in the studio and on location.
Moviecam Los Angeles Showreel
Cinematographer Pip White captures the relationship between a mother and her young son. Shot on location in Los Angeles with our exclusive #Moviecam lenses. Learn more here: bit.ly/3BfQ9Mi
Moviecam Mountain Showreel
Explore the Bavarian mountains with our rehoused #Moviecam vintage spherical lenses. Developed by our global lens design team and available exclusively through #ARRIRental. Learn more here: bit.ly/3BfQ9Mi
ALFA Anamorphics London Showreel
Test images shot at London's South Bank with ARRI Rental's exclusive new large-format anamorphic lens series - #ALFA. Developed in-house by our global lens design team, and available from our rental facilities worldwide. Learn more about the newly released vibrant optics at arrirental.com
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#ARRIRental #Optics
BTS of The Green Knight with DP Andrew Droz Palermo
"We really fell in love with the 65 and what it could provide for us as far as an immersive experience of getting really wide and tight, very, very close to the action, ….or intimate with an actor, but still while having a very wide field of view where we're not missing the environment." Cinematographer Andrew Droz Palermo breaks down the visual language behind "The Green Knight" and his experience shooting on #ALEXA65 and #PrimeDNA lenses.
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#ARRIRental
Mike Eley BSC on the cinematography of “The Dig”
Cinematographer Mike Eley BSC reflects on pairing ARRI Rental’s DNA LF lenses with ALEXA LF to bring a sensitivity to the Suffolk landscape of Netflix film “The Dig”. Streaming now.
#MakingOf #BehindTheScenes #BTS #Filmmaking #Cinematography #SetLife #LargeFormat #YourLensChoice #ARRIRental #TheDig Netflix Post Production
The Martini #111 with Adam Newport-Berra
Cinematographer Adam Newport-Berra live on #TheMartini today. We'll be diving into his work and creative process while shooting HBO's Euphoria and The Last Black Man in San Francisco.
Stuart Dryburgh ASC on MEN IN BLACK: INTERNATIONAL
ARRI Rental DNA lens manufacturing
ARRI Rental DNA lenses capture BOHEMIAN RHAPSODY
