In our most recent ARRI Applications episode, we catch up with Director of Photography David Lanzenberg to talk about his impressions of the ARRI ALEXA 35 and ARRI Signature Primes in a virtual production environment. Lanzenberg also discusses his approach to filmmaking and how advances in technology influence his creative process.

ARRI recently released SUP 1.2.1 for the ALEXA 35, adding several new features and user requests.

Emerson College, the prestigious institution known for its exceptional programs in communication, the arts, and the liberal arts, recently purchased five ARRI ALEXA 35 packages from AbelCine. In addition to scholarly media studies, the Department of Visual & Media Arts emphasizes practical learning on state-of-the-art technology.

For her upcoming feature, Grassland, cinematographer Veronica Bouza chose the new ARRI ALEXA 35. The production filmed both indoors and outdoors on location, putting the camera through its paces in various configurations, ranging from handheld to tripod to Steadicam.

As ARRI’s newest digital cinema camera, ALEXA 35, begins to make its way into the hands of more and more filmmakers, we thought now would be a good time to present a summary of ARRI’s new REVEAL color science, which includes hardware, firmware and software features – some of which are specific to the new camera and others that can be leveraged with recent ARRI cameras like the ALEXA LF and ALEXA MINI LF.

We’ve known it’s been coming for some time, and now ARRI’s new 4K Super 35-format camera is finally here – meet ALEXA 35. The specs are impressive – a new 4K sensor, 17 stops of dynamic range, new REVEAL color science, and much more.