ARRI 4K Super 35 Camera Will be Launched Next Month

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House of the Dragon Season 2​

By JotaParro

1st AC DCam
Blood Unit: Spain

Directors:
Clare Kilner
Geeta Vasant Patel
Alan Taylor
Andrij Parekh
Loni Peristere

DOPs:
P.J. Dillon
Catherine Goldschmidt
Alejandro Martínez
Vanja Cernjul

Arri Alexa 35
Arri Alfa
Arri Alfa V2
Arri Master Anamorphic
Service Vision Anamorphic 138-405mm

 

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Penny Appeal - Beauty and the Blaah - Trailer​

By

Ben Halford

Producer: Guy Lindley
Director: Oz Arshad
DOP: Ben Halford
1AC: Kieran Coyne
2nd AC: Sam Davies
Gaffer: Joe Dabbs
Spark: Stuart Swindell
Spark: Oscar Bell
Edit: Ian Robertson
Grade: Sara Buxton

Camera: Arri Alexa 35
Lenses: GL Optics Leica Rs

 

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[Netflix] GyeongSeong Creature (Promotional VDO)​

By Tone Prot Promprot

Captured by : ARRI Alexa 35 / Leica Summilux-C Lenses

 

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Irish Gold​

​

bY toby harris

Filmed on my Arri Alexa 35 with Atlas Orion anamorphic glass.

 

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ARRI ALEXA 35 SUP 1.2.1 & CCM-1 SUP 5.5.2​

By Newsshooter
Article

ARRI ALEXA 35 SUP 1.2.1 & CCM-1 SUP 5.5.2 - Newsshooter

ARRI has released new SUPs for ALEXA 35 and the CCM-1. ARRI is bringing parallel use of the MVF-2 and CCM-1 via the VF connector to the ALEXA 35,

www.newsshooter.com

ARRI Tech Talk: Understanding ARRI Look Files and Custom Color Management for ALEXA 35​

BY
ARRIChannel

 

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Checking Out the New Arri Alexa 35 Grain Textures​

BY

Mitchell Brinker

 

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ARRI TEXTURES SAMPLE FOOTAGE

Frame.io

app.frame.io

ARRI TEXTURES COMPARISON

ARRI Textures | Image Science | Learn & Help

“It’s like selecting a film stock's character”

www.arri.com

High Clarity and Clarity

ARRI Textures | Image Science | Learn & Help

“It’s like selecting a film stock's character”

www.arri.com

 

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DP Adam Suschitzky BSC on shooting “Red, White and Blue”​

By
ARRIChannel
ARRIChannel

"Adam Suschitzky BSC shares his experiences shooting the Oscar-nominated short film “Red, White and Blue” with the ARRI ALEXA 35, combining Signature lenses with Impression V Filters to enhance the narrative."

 

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EON'S ECHO - Award-Winning Sci-fi Short Film​

By
Godefroy Ryckewaert

Filmed on Location in Paris, FRANCE
Camera ARRI ALEXA 35
Lenses COOKE ANAMORPHIC

 

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El Conde cinematographer Ed Lachman, ASC | Cinepod​

By The Cinematography Podcast

The Best Horror of 2023 So Far: El Conde​

El Conde is a a dark comedy/horror film that portrays former Chilean dictator Augusto Pinochet as a 250 year old vampire. Director Pablo Larraín wanted to play with the idea that a dictatorship is a blood-sucking drain on society with lasting generational impacts. Cinematographer Ed Lachman immediately liked Larraín’s message. “El Conde is his allegory of how we are seduced into yielding to fascism. And it isn’t just in Chile. It’s like the last 50 years, we’re facing that all over the world. That’s why I think the film has something to say- if you can get past the gore.”Ed had been a long time admirer of Larraín’s work. He found Larraín’s films to be conceptually brilliant with camera placement and movement to tell the story. “They say a cinematographer and a director is a marriage. But I always like to think of it as a dance partner- you hear the same music, but do your steps compliment each other? And I’ve certainly felt I have that relationship with Pablo.” Ed knew he wanted to shoot El Conde in black and white, referencing gothic vampire movies such as Nosferatu and Vampyr (1932). Working with Netflix Latin America, Larraín obtained approval to originate the film in black and white rather than shoot in color and then desaturate it later. For production design, special effects and costumes, all the color choices could be made for the best look in black and white. Ed decided to use the ARRI LF camera, and fortunately, ARRI had just developed a monochromatic sensor for them to use. He enjoys shooting with an actual black and white camera because the exposure latitude and grain structure is different, and he can use monochromatic filters meant for black and white cinematography.El Conde features some amazingly realistic scenes of vampires flying. The night flying sequences had to be done with a blue screen, which did require a color camera. But all of the day flying sequences and stunts were shot with the black and white camera. The flying sequences were done practically, with no special effects. A 120ft crane suspended the camera operator, who moved through the air with the actors and stunt acrobats on wires.Ed used the EL Zone System, a method he invented, to figure out the proper exposures for the cameras on El Conde. He’s developed the EL Zone system over the past 10 years, in an effort to measure light values and standardize exposures for digital cameras, and won a technical Emmy in 2023 for the technology. The system uses 18% gray as the standard, which is a universal photography standard. The camera’s sensor data is used as a reference point and filmmakers can view the entire exposure of a shot on a monitor to make lighting adjustments easier.El Conde is streaming on Netflix.Find Ed Lachman, and learn more about the EL Zone Systemhttps://www.elzonesystem.com/
Sponsored by ARRI: The ARRI Alexa 35 camera has custom textures available to download, including two new textures called Super Nostalgia and Custom Extreme Nostalgia.

 

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Cullen Kelly shows how to make a lut compatible with the Arri Alexa 35 camera with the new Lut creation workflow inside of the ARRI Reference Tool version 1.4

Link to ARRI Reference Tool version 1.4 download

ARRI Reference Tool | Learn & Help

 

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ALEXA 35 vs ALEXA MINI LF Candlelight Lens Test​

By

Adrian Petrosian