Stories from the set

Director Ferdinand Feldmann and DP Tobias Blickle discuss format and influences on their artistic short film, "The Mysterious Opacity of Other Beings."

DP Zac Nicholson BSC, 1st AC Tobias Eedy, and gaffer Jonny Franklin talk to ARRI Rental about their work on the all-star festive film, directed by Gil Kenan.

Key grip Kim Worthington reveals how the HEXATRON helped achieve telescopic crane shots in the challenging terrain of a dense, snowy forest.

We caught up with cinematographer Eben Bolter BSC to talk about his 'neon noir' approach for Netflix's vampire thriller. This interview touches on color palettes, lighting, shooting in HDR, and much more.

"Lighting the actors beautifully but also realistically ... these are people in a really raw and naked moment in their lives." Watch DP Andrij Parekh ASC on how he used art for inspiration to help light and capture HBO's series.

Cinematographer Pip White lenses a day in the life of mother and son around Los Angeles. Shot on  ARRI Rental's exclusive Moviecam lenses.  

DP Thomas W. Kiennast on why he chose ARRI Rental’s exclusive 65 mm format and customizable DNA lenses for the period chess drama “Schachnovelle” (“The Royal Game”).

"We wanted to make sure that we were able to evoke the loneliness in the cinematography but at the same time, feel this disparity between what was going on with [William]Tell and what was going on in the real world." 

"And how do I make you deeply uncomfortable in that? How do I layer that with something that's unsettling," cinematographer Ben Kutchins shares how he captured HBO Max's, "The White Lotus." 

Cinematographer Andrew Droz Palermo breaks down the visual language behind "The Green Knight" and his experience shooting on #ALEXA65 and #PrimeDNA lenses.

Meet the recipients of the 11th annual Volker Bahnemann Award for Outstanding Cinematography: Mélanie Akoka and Sarah Greenbaum  

DP Marcell Rév talks about his experience shooting in black and white on the ARRICAM LT with ARRI/Zeiss Super Speeds for the film, “Malcolm & Marie." 

Cinematographer Patrick Meller pairs ARRI Rental’s ALEXA 65 camera with Prime 65 S lenses for actress Billie Piper’s directorial debut.

A new state-of-the-art LED volume stage created in collaboration with Creative Technology is among the largest permanent facilities of its type in Europe, with equipment package support available from ARRI Rental.

Having used it on the "Fantastic Beasts" sequel, cinematographer Philippe Rousselot AFC, ASC again turns to ARRI Rental's exclusive ALEXA 65 camera for Amazon's Tom Clancy thriller.

Cinematographer Marcell Rév, HSC talks about shooting the show during the pandemic, detuning lenses with ARRI Rental, and the switch to film for season 2.

The Chaos Walking cinematographer talks about his experience using our ALEXA 65 and Prime DNA lenses.

The cinematographer talks about using ARRI Rental’s exclusive Prime DNA lenses with ALEXA 65 and Mini LF cameras to capture arctic storm and zero gravity space scenes.

Tami Reiker ASC discusses the process involved in crafting Regina King's debut feature. Shot on ALEXA 65 and Prime DNA lenses.

DP Christian Rein describes how he used ARRI Rental's ALEXA 65 camera and DNA lenses to create the look for Netflix's post-apocalyptic drama.

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”. 

Cinematographer Cao Yu ASC, CNSC shares his experience on shooting "The Eight Hundred" on ALEXA 65 and Prime 65 lenses.

News on how we're supporting our employees, clients, and film community.

Cinematographer Christian Stangassinger works with ARRI Rental to detune and personalize lenses for a unique look on the historical war drama series.

Joshua James Richards breaks down the cinematography of “Nomadland” from his home in this behind the scenes video.

Laurie Rose BSC shares a set of ARRI Rental Prime DNA lenses between an ALEXA 65 and ALEXA LF on Ben Wheatley’s new adaptation of the Daphne du Maurier novel.

Meet the recipients of the 10^th annual Volker Bahnemann Award for Outstanding Cinematography.  Alfonso Herrera Salcedo Serrano and Stefan Nachmann.

We are excited to announce that ARRI Rental in North America will work closely with XM2 PURSUIT, a groundbreaking new collaboration between industry stalwarts XM2 and Pursuit Aviation, to demonstrate innovative camera solutions and exclusive technology for filmmakers, offering our customers more creative choices.

"Prisoners of the Body" was nominated at 2020 Student Academy Awards in the 'Best Alternative/Experimental' category.

In our episode with DP Neville Kidd ASC, we chat about photo and art references that inspired "Altered Carbon," "Outlander," and "Umbrella Academy."

New-york based DP Tari Segal breaks down the challenges of working on network television, working as a mentee under Phedon Papamichael ASC, GSC, and tips for navigating politics on set.

Robert Yeoman ASC talks about his past collaborations with Wes Anderson, how to do his famous 'swish pan,' and advice for aspiring filmmakers.

A detailed, behind-the-scenes exploration of the visual look and soundscapes of all three seasons of “Dark,” the first German-language original series from Netflix.

Florian Ballhaus ASC discusses working his way up through the ranks in the film industry, working with his father Michael Ballhaus ASC, and his latest film from Disney, "The One and Only Ivan."

Mr. James Laxton ASC sits down with ARRI Rental to discuss his award-winning film, 'Moonlight', large format, and stories from on set.

With a career that spans over four decades, Ed Lachman ASC comes on the show to share his expertise and wisdom from his work on "Carol," "Dark Waters," "Far From Heaven," and "Wonderstruck."

"Dark" cinematographer, Nik Summerer, discusses his work on seasons 1-3 of the popular Netflix series.

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 advice for filmmakers just getting started.

Director/cinematographer Reed Morano ASC joins ARRI Rental's weekly webinar, The Martini.

Newton Thomas Sigel ASC joins "The Martini" to speak about how he got his start in the film industry and Spike Lee's "Da 5 Bloods."

Martin Ahlgren ASC 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 on 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." 

New York based cinematographer Jomo Fray joins our show to about his work on “No Future,” “Port Authority,” and “Selah and the Spades.”

DP Joe Anderson (“Top Boy,” “The Old Man and the Gun,” and “Don’t Think Twice,”) 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.

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.

Gaffer Brian Bartolini shares his lighting techniques, collaborations, and challenges on the latest Terminator movie.

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.