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DP Zach Kuperstein talks about working on smaller-budget films, inventing film tools, and more.
Cinematographer Eben Bolter BSC goes in-depth on capturing the sci-fi comedy "Avenue 5", shooting over 50 short films, and lays out some advice for new filmmakers.
Director/cinematographer Reed Morano ASC joins ARRI Rental's weekly webinar, The Martini.
Cinematographer Newton Thomas Sigel ASC joins The Martini to speak about how he got his start in the film industry, early work, and "Da 5 Bloods".
Director of Photography Martin Ahlgren talks about what inspires him, working on HBO's "I Know This Much Is True", and more.
Producer Jamie Buckner joins us to chat about what he can do as a producer to help encourage diversity, safety on set, and more.
Adam Newport-Berra gives us an in-depth look at how he captured "The Last Black Man in San Francisco" and HBO's Euphoria.
Jody Lee Lipes sits down with us to chat about his work on HBO's "I Know This Much Is True", which was serviced by ARRI Rental.
Jomo Fray joins our show to about his work on: “No Future”, “Port Authority”, “Selah and the Spades”.
DP Joe Anderson (“Top Boy”, “The Old Man and the Gun”, “Don’t Think Twice”, “Christine”) joins The Martini to discuss his journey as a filmmaker.
Oscar-nominated cinematographer Rachel Morrison ASC joins ARRI Rental's weekly show, The Martini.
Cinematographer Shawn Peters joins our weekly show, The Martini. In this episode, he discusses his career, diversity on sets, and more.
Relive ARRI's 'Big Screen Event' from Camerimage 2019, with a recorded live panel discussion featuring cinematographer Ken Seng, 1st AC Adam Coles, gaffer Brian Bartolini
Cinematographer Michael Simmonds joins the show to talk about "Halloween", "Paranormal Activity 2", and HBO's "The Righteous Gemstones".
In this episode, we catch up with cinematographer Greta Zozula ("The Half of It", "Light from Light", "Never Goin' Back").
The Martini Episode #103 with producer Erika Hampson ("The Good House", "Life Itself", "Like Father", "The Discovery").
In our debut episode, we caught up with cinematographer Noah Greenberg about his work, the resurgence of black and white film, influences, and much more.
Cinematographer Michael Lloyd sits down with ARRI Rental to talk about what the ALEXA 65 and Prime DNA lenses brought to his latest project.
Cinematographer Kyung-Pyo Hong reflects back on capturing the historic Oscar winner "Parasite" with ALEXA 65 cameras and Prime DNA lenses.
Cinematographer Liu Yizeng discusses his use of ARRI Rental’s exclusive ALEXA 65 camera and Prime 65 S lenses on director Zheng Xu’s comedy film.
A look back at the iconic film, directed by Francis Ford Coppola.
Macdonald speaks to ARRI Rental about pulling focus on the German Netflix series, captured with ALEXA LF cameras and DNA LF lenses.
Cinematographer Joewi Verhoeven speaks about working with ALEXA 65 and DNA lenses, now available in China, for a jewelry commercial.
Cinematographer Christopher Blauvelt talks to ARRI Rental about using ALEXA LF and Signature Primes for Autumn de Wilde's Jane Austen adaptation.
A compilation of video interviews ARRI Rental has conducted with cinematographers we've worked with over the last few months.
HBO's "Avenue 5" is a new series from British comedy legend Iannucci, shot by Bolter with a multi-camera package of ALEXA Minis and Leica Summicron lenses provided by ARRI Rental.
Our latest ALEXA 65 showreel, highlighting a few recent projects to use our cinematic 65 mm format: "Joker," "Parasite," "Mulan," and more.
Cinematographer Prieto teams with director Martin Scorsese for the critically acclaimed epic saga about organized crime from Netflix, using analog and digital cameras supplied by ARRI Rental.
Director Todd Phillips and cinematographer Lawrence Sher ASC discuss the Oscar-nominated film "Joker" at ARRI, Los Angeles.
Rina Yang (DP of episodes 8, 9 and 10) breaks down the lush cinematography of Netflix's London-set gang drama "Top Boy". In this interview, she discusses the look of the show, ALEXA LF, DNA lenses, and more.
Technical supervisor Ben Gervais explains how ARRI and ARRI Rental collaborated with director Ang Lee to customize ALEXA SXT M cameras for 3D images at 120 fps.
We sat down with cinematographer Lawrence Sher ASC to discuss his work with ALEXA 65 and DNA lenses on Todd Phillips' smash-hit film, starring Joaquin Phoenix.
Gaffer Brian Bartolini shares his lighting techniques, collaborations, and challenges on the latest Terminator movie.
DP Ken Seng speaks about capturing the latest Terminator film with ARRI ALEXA LF cameras and a lens package combining anamorphics with ARRI Rental DNA optics.
Cinematographer Stuart Howell discusses how his use of ARRI Rental's exclusive DNA LF lenses affected his lighting and camerawork on the historical miniseries.
In conversation with ARRI Rental, cinematographer Julio Macat ASC discusses his work with our exclusive digital 65 mm camera system on Bart Freundlich's new film.
Fred Elmes ASC talks zombies, Jim Jarmusch, George A Romero, ALEXA LF cameras and ARRI Rental DNA lenses.
DP Johannes Louis and ARRI Rental’s Christoph Hoffsten collaboratively tune a set of lenses to create a personalized look for Erik Schmitt’s new film, "Cleo: If I Could Turn Back Time".
Stuart Dryburgh ASC speaks about shooting the new MIB movie in 65 mm with ARRI Rental's exclusive ALEXA 65 camera and Prime DNA lenses.
Cinematographer Adam Newport-Berra discusses his work on director Joe Talbot’s debut feature film, which picked up two awards at Sundance.
Dan Laustsen ASC, DFF speaks to ARRI Rental about his camera and lighting techniques on the latest chapter of the John Wick series, directed by Chad Stahelski and starring Keanu Reeves.
Developed in collaboration with cinematographers, ARRI Rental's exclusive DNA lenses are manufactured in-house. Encompassing a Prime DNA series for ALEXA 65 and a DNA LF series for ALEXA LF, the DNA program is a unique concept in personalized filmmaking.
Producer Maddy Easton of Rogue Films in the UK discusses using ARRI Rental’s exclusive ALEXA 65 camera system on "Where Everyone Plays," a soccer-themed commercial shot by DP Mattias Rudh.
Cinematographer Ben Davis BSC explains the reasons behind his choice of ARRI Rental's exclusive 65 mm digital format and customizable Prime DNA lenses for Tim Burton's remake of the Disney classic.
The director/cinematographer speaks to ARRI Rental about what the 65 mm format brought to his critically acclaimed black-and-white film.