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Greig Fraser ACS, ASC on "Dune: Part Two"

ALEXA 65, ALEXA Mini LF, and lenses including exclusive ARRI Rental optics chosen by DP Greig Fraser for the second part of director Denis Villeneuve's sci-fi epic.

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Polly Morgan ASC, BSC mixes lenses on “Back to Black”

Cinematographer Polly Morgan returns to the Super 35 format with the ARRI ALEXA 35 and combines a mix of lenses with a bleach bypass emulation LUT to craft a unique look for director Sam Taylor-Johnson’s biopic about Amy Winehouse.

Behind the scenes Amazon’s “Mr. and Mrs. Smith” DP Christian Sprenger

Moviecam lenses give “Mr. and Mrs. Smith” a vintage look

Cinematographer Christian Sprenger ASC discusses working in large format with the ARRI ALEXA Mini LF and ARRI Rental Moviecam lenses on Amazon’s action-packed spy series.

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ALEXA Monochrome cameras

Native black-and-white across three formats

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HEROES

Eclectic lenses with optical superpowers

Explore ARRI Rental projects

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Dune Part 2

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Furiosa: A Mad Max Saga

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Baby Reindeer

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Poor Things

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Back to Black

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House of the Dragon (Season 2)

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El Conde

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Barbie

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The Batman

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The Lord of the Rings: The Rings of Power

Personalized solutions

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Director/cinematographer Alfonso Cuarón

ARRI (Rental) from the moment that we talked to them...they became one of our strongest allies in moving forward with the project.

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Cinematographer Stuart Dryburgh ASC

I've worked with ARRI Rental a lot...I'm always made very welcome and always well supported.

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Cinematographer Adam Newport-Berra

Most if not all of the films I've done have been with ARRI Rental; they've been so supportive of my work, both logistically and creatively.

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Cinematographer Newton Thomas Sigel ASC

We designed a reverse optics lens for one sequence, which worked stunningly well. I can't say a bad word about the ARRI Rental team.

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Cinematographer Richard Rutkowski ASC

The people at ARRI Rental are as dedicated as filmmakers...they think about things in the creative sense, not just the financial sense.