News and Features
Sensors & Sensibility: Achieving the Luminous Glow of Whit Stillman’s ‘Love & Friendship’
“'Love & Friendship' was the first period film from that time for me, so I was really happy to do it, especially night scenes...
ARRI Alexa XT
News and Features
‘American Gods’: Producing the Visceral, Visually Powerful Series
Creator/executive producer Bryan Fuller and Michael Green serve as showrunners for Starz' "American Gods." The pilot was shot by director of photography Jo Willems,...
News and Features
DP Bojan Bazelli Explains Why He Preferred the ARRI Alexa XT Studio for ‘A Cure for Wellness’
A Cure for Wellness cinematographer Bojan Bazelli speaks to Filmmaker Magazine about shooting Gore Verbinski’s stylish horror movie. “For A Cure for Wellness we used...
Slideshow
Grand Dames: How FX’s ‘Feud’ Re-Created a Famed Hollywood Rivalry
Taylor Swift and Kanye West? That’s nothing! Back in the day, they knew how to feud. Case in point: the decades-long battles between movie...
News and Features
‘Lion’ DP Greig Fraser Explores the Juxtaposition of India and Australia
Variety speaks to cinematographer Greig Fraser about his choices for shooting Lion , based on the true story of an Australian man who goes...
News and Features
‘Moonlight’ DP James Laxton Explains the Decision to Record ProRes Instead of Raw
Moonlight DP James Laxton speaks to Filmmaker Magazine about shooting the acclaimed movie with a distinctive saturated looks that enhances the milieu of 1980s Miami....
Slideshow
‘Berlin Station’: Spies, Lies and Shooting on Location
Launching on cable network EPIX with a ten-episode season on October 16, Berlin Station is a contemporary spy series that follows Daniel Miller, who...
News and Features
ARRI Upgrades All Alexa XT Cameras to SXT
ARRI is replacing all of its Alexa XT cameras with the upgraded SXT. Explains Film & Digital Times, “Alexa SXT cameras benefit from electronics and...
News and Features
Thrilling Adventures: Recording Remote Locations on ‘Hunt for the Wilderpeople’
"We watched many movies from the ’70s through the early 1990s," says DP Lachlan Milne. "We liked camera language of the era, including the...
Slideshow
Beauty and Insanity: Natasha Braier Brings ‘The Neon Demon’ to Lurid Life
Co-written and directed by Danish filmmaker Nicolas Winding Refn (Drive, Only God Forgives), The Neon Demon explores our society’s current obsession with beauty. Read...
News and Features
Movement Informs the Camera Package Used in John le Carré Thriller ‘Our Kind of Traitor’
Susanna White’s Our Kind of Traitor is a fast-paced thriller, an adaptation of a John Le Carré novel with an international landscape. “An awful lot...
News and Features
Blackmagic URSA Mini 4.6K vs. ARRI Alexa XT
Cinematographer John Brawley has released his camera test pitting the Blackmagic URSA Mini 4.6K against the ARRI Alexa XT. As 4K Shooters writes, “We...
Slideshow
Deconstructing Production: Achieving the Affecting Realism of ‘Demolition’
Is the new film from Canadian director Jean-Marc Vallée a study in grief, or in pathology? The unusual script by Bryan Sipe combines with...
News and Features
ARRI Alexa and 65mm Film “Mesh Perfectly” for ‘Sunset Song’
To film the scenic literary adaptation Sunset Song, cinematographer Michael McDonough combined digital (filmed with an ARRI Alexa XT Studio) with 65mm film (filmed with an...
News and Features
‘Sunset Song’ Uses 65mm Film to Capture the Grandeur of Its Landscapes
To shoot Terence Davies’ WWI epic Sunset Song, cinematographer Michael McDonough opted for a mix of digital and large format film. In additon to...
News and Features
‘Steve Jobs’ Uses 16mm, 35mm, and Digital to Tell Story in Three Eras
Steve Jobs screenwriter Aaron Sorkin decided to tell the story of the Apple CEO in three acts taking place at three distinctive times. The...
Video Edge
‘Beasts of No Nation’: Director/Cinematographer Cary Fukunaga Brings Unflinching Imagery to Life
“I’ve always been heavily involved in cinematography on all my work—lighting design, camera placement—and I thought, why not keep it more intimate on this...
Slideshow
‘Me and Earl and the Dying Girl’: Conveying the Complexity of the Adolescent Experience
Based on the popular young adult novel Me and Earl and the Dying Girl, the indie feature of the same name directed by Alfonso...
News and Features
This Handy Chart Compares 8 Different Cameras
A handy chart from Lights Film School compares 8 different popular cameras at a glance, detailing information about weight, sensor type, output and more....
News and Features
ARRI Alexa XT vs. Sony F55 vs. Sony F3
In the below video Tomas Riuka compares the Sony F55 and Sony F3 with the ARRI Alexa XT. He concludes, “As you will see,...
Slideshow
Thrilling Adventures: ‘Marvel’s Agent Carter’ Combines Classic and Contemporary Visual Styles
Counting on Marvel’s deft touch when it comes to the commercial success of its stable of superheroes that includes Captain America, Iron Man and...
News and Features
‘Fifty Shades of Grey’ DP Takes a Page From Wildlife Photography
"The composition and framing were more important than the lighting," Seamus McGarvey reveals of the shoot.
News and Features
Interview: Jonathan Sela, Cinematographer, ‘John Wick’
Sela chose to work with ARRI Alexa XT cameras, combining anamorphic and spherical lenses and capturing in ARRIRAW to maximize image quality.
News and Features
‘John Wick’ DP Jonathan Sela Achieves Two Distinctive Looks with ARRI Alexa XT
John Wick cinematographer Jonathan Sela talks to ARRI about using the ARRI Alexa XT for his first digital feature film shoot. John Wick tells...
News and Features
Ben Richardson Moves to Alexa for ‘The Fault in Our Stars’
Director of photography Ben Richardson shot The Fault in Our Stars using ARRI’s Alexa XT camera and ARRI/Zeiss Master Prime lenses from ARRI CSC....
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