Stories from the set

Cinematographer Martin Ruhe ASC shoots in large format with ARRI Rental’s exclusive ALFA anamorphic lenses on the spy thriller starring Rami Malek.

Gaffer Thorsten Kosellek discusses the third season of "The White Lotus" and what went into lighting the locations on the island of Koh Samui, Thailand. Illuminated with SkyPanel X, Orbiter and ARRIMAX fixtures, the series follows the exploits of guests and employees at the fictional White Lotus resort chain.

Cinematographer Darius Khondji AFC, ASC talks to ARRI Rental about reuniting with director Bong Joon Ho and returning to the 65 mm format for their latest collaboration.

Darran Tiernan ISC explores the visual language of "The Penguin." He shares insights on working with Director Craig Zobel, navigating the visual connection to "The Batman" while forging a new look, and the camera and lens choices that shaped the show's unique atmosphere.

ARRI Rental speaks with cinematographer Ed Lachman ASC about mixing film formats on the Netflix biopic of opera singer Maria Callas, directed by Pablo Larraín.

Berlin-based gaffer Albrecht Silberberger talks to ARRI Rental about using ARRI Orbiter, M-Series, and SkyPanel fixtures on a three-day commercial shoot for Lufthansa.

Alice Brooks ASC gives a detailed interview on how emotional cues dictated technical choices for Jon M. Chu’s movie adaptation of the hit musical.

Cinematographer Lowell A. Meyer shares his creative choices and challenges on Max’s classy, mind-bending thriller, directed by Celine Held and Logan George.

Cinematographer Galo Olivares talks to ARRI Rental about working with director Fede Álvarez on the latest film in the long-running “Alien” franchise, shot with ALEXA 35.

HFF Munich film school’s revised location lighting course provides a “once in a lifetime opportunity” for students, with support from ARRI Rental.

ALEXA 65 with DNA lenses, including custom optics made specially by ARRI Rental, used to shoot the latest instalment in director George Miller’s post-apocalyptic franchise.

Combining the ARRI ALEXA 35 with ALFA V1 and V2 anamorphic lenses from ARRI Rental, cinematographer PJ Dillon kicks off season two of HBO’s “Game of Thrones” prequel.