ARRI Rental | Digital full frame

Shooting in large format is like painting on a bigger canvas. Different stories call for different tools, and cinematographers are increasingly turning to larger formats to enhance the cinematic feel, capture the detail of landscapes, or increase background separation for close-ups that pop out of the screen.

ARRI Rental carries the ARRI ALEXA LF/Mini LF camera system and the Sony Venice, alongside a wide range of large-format lenses, including ARRI Signature Primes and our exclusive DNA LF series.

Digital full-frame camera options

ARRI large-format system

- Meets and exceeds modern production requirements

- Large-format 4.5K version of the ALEXA sensor

- Two cameras, plus Signature Prime lenses

- Lens Data System LDS-2

- New LPL mount for advanced lens designs

- PL-to-LPL adapter for backwards lens compatibility

ARRI ALEXA Mini LF

- Compact and lightweight

- New Codex Compact Drive

- Two built-in microphones

- Additional external WiFi antenna

- New MVF-2 HD viewfinder with flip-out monitor

- Great companion camera to the ALEXA 65

ARRI ALEXA LF

- High-speed recording up to 150 fps at full sensor width

- Three independent SDI outputs

- Lots of accessory power outputs (4 x 24 V and 1 x 12 V)

- Built-in wireless video transmitter

- Clear and comfortable EVF-2 viewfinder

Sony Venice

- Switchable sensor modes

- Full-width 36 mm 6K

- Super 35 anamorphic 4K

- Dual base ISO

- Eight-step internal ND filters

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Find the best large-format solution for your shoot...

In your own words

Fred Elmes ASC ("The Dead Don't Die")

Large format gave me an opportunity to use lenses I wasn't used to. It allowed me a big image with much more quality than I'm used to with Super 35, and that I could manipulate and play with later.

Stuart Howell ("Catherine the Great")

Like anamorphic, large format allows you to shoot on longer lenses for an equivalent field of view, which pulls the landscape in and somehow makes the image more immersive.

Digital full-frame news

ARRI Rental_We Are The Wave_ALEXA LF_DNA_Ken Macdonald_1

2020-03-24

1st AC Ken Macdonald on "We Are the Wave"

Macdonald speaks to ARRI Rental about pulling focus on the German Netflix series, captured with ALEXA LF cameras and DNA LF lenses.

2020-02-25

Shooting "Emma." in large format

Cinematographer Christopher Blauvelt talks to ARRI Rental about using ALEXA LF and Signature Primes for Autumn de Wilde's Jane Austen adaptation.

2019-12-19

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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