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Stories from the set

Explore user stories and other news

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Best of cinematographer interviews

A compilation of video interviews ARRI Rental has conducted with cinematographers we've worked with over the last few months.

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Eben Bolter BSC shoots space comedy for Armando Iannucci

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. 

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2020 ALEXA 65 showreel

Our latest ALEXA 65 showreel, highlighting a few recent projects to use our cinematic 65 mm format: "Joker," "Parasite," "Mulan," and more.

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Rodrigo Prieto ASC, AMC on shooting "The Irishman"

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.


Rina Yang discusses the cinematography of "Top Boy"

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.

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"Gemini Man" making-of featurette

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.


Exclusive BTS of "Joker" with Lawrence Sher ASC

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.

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Lighting "Terminator: Dark Fate"

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


Shooting "Terminator: Dark Fate"

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.


Vintage DNA LF lenses with ALEXA LF

Cinematographer Stuart Howell discusses how his use of ARRI Rental's exclusive DNA LF lenses affected his lighting and camerawork on the historical miniseries.


“After the Wedding” on ALEXA 65

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.


“The Dead Don’t Die”

Fred Elmes ASC talks zombies, Jim Jarmusch, George A Romero, ALEXA LF cameras and ARRI Rental DNA lenses.


Customizing lenses for "Cleo"

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".

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“Men in Black: International”

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.


“The Last Black Man in San Francisco”

Cinematographer Adam Newport-Berra discusses his work on director Joe Talbot’s debut feature film, which picked up two awards at Sundance.

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“John Wick: Chapter 3 – Parabellum”

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.


ARRI Rental DNA lens manufacturing

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.


ALEXA 65 gives Coca-Cola commercial a stand-out look

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. 


“Dumbo” captured with ALEXA 65 and DNA lenses

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.


ALEXA 65: Inspiring Cinematographers

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Alfonso Cuarón on shooting “Roma” with ALEXA 65

The director/cinematographer speaks to ARRI Rental about what the 65 mm format brought to his critically acclaimed black-and-white film.