ARRI Rental and cinematographers Ed Lachman ASC and Marko Massinger collaborate on a new black-and-white camera for the Netflix movie "El Conde."
DP Jo Willems uses ARRI ALEXA Mini LF cameras, Signature lenses, and the HEXATRON crane vehicle on the fifth “Hunger Games” film, serviced by ARRI Rental.
Cinematographer Lyn Moncrief discusses choosing exclusive ARRI Rental technology to transform the renowned video game into a chilling horror film.
Native black-and-white across three formats
Eclectic lenses with optical superpowers
ALEXA 65, ALEXA Monochrome cameras, and ARRIFLEX 765.
Unique optics including the DNA, ALFA, and Moviecam series.
HEXATRON crane vehicle and Hover Dolly with Delta Track.
BrikLok modular LED panels, and custom rigging.
ARRI (Rental) from the moment that we talked to them...they became one of our strongest allies in moving forward with the project.
I've worked with ARRI Rental a lot...I'm always made very welcome and always well supported.
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.
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.
The people at ARRI Rental are as dedicated as filmmakers...they think about things in the creative sense, not just the financial sense.
Edgar Allen Poe’s classic tale is reimagined by DP/director Michael Fimognari and co-director Mike Flanagan using ARRI Rental’s exclusive ALEXA 65 with Prime DNA and Leitz Thalia lenses.