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.

In this video, we share some footage captured in the new recording formats found in ARRI's latest ALEXA Mini LF Software Update Package 7.0.1. This SUP includes four new Super35 recording formats and two new Large Format recording formats, plus feature enhancements to the overall user experience.

In this in-depth interview, AbelCine Director of Education Jeff Lee sits down – virtually – with director Greg Robbins and DP Chris Fanning of RDM to talk about their work in the world of virtual production.

ARRI has released SUP 7.0 for their popular ALEXA Mini LF camera system. The update includes some long-awaited features, with new dedicated Super35 recording modes that match those found on the original ALEXA Mini. In most cases, these new modes can achieve higher maximum frame rates than the original ALEXA Mini. There are new LF (Large Format) recording modes, an expanded list of framelines and anamorphic squeeze factors, and a number of other enhancements as well.

AbelCine's ARRI Applications series continues with a look at the mixed reality workflow of RDM. Discover how this studio utilizes the ARRI ALEXA Mini LF, Signature Primes, and SRH-360 stabilized remote head, all riding atop the Motion Impossible AGITO robotic dolly, on a cutting-edge virtual production stage.

AbelCine's new ARRI Applications series begins with insight from Director of Photography Lucas Cohen, exploring why he chose the ARRI ALEXA Mini LF and Signature Primes for this specific project: six shoots in three weeks, covering Major League Soccer.

One of the major technology trends in 2020 continues to be HDR. As you may also know, Netflix has instituted a requirement that all original programming be finished in HDR (the Dolby Vision flavor, to be exact) — not unlike their 2015 edict that all original programming be shot with cameras from a growing list of bodies that capture at least UHD 3840x2160 natively. While a full primer on ‘What to Expect When You’re Expecting HDR’ is beyond the scope of this article, I wanted to highlight one camera particularly well-suited to HDR capture (as well as satisfying the Netflix resolution requirements): ARRI’s ALEXA Mini LF.

The ALEXA Mini LF builds on ARRI's wireless control technology, which was introduced to the ALEXA line with the ALEXA SXT W. Each new ALEXA camera has advanced this capability, and the Mini LF is no exception. In this blog, I take a look at the various options available for wireless camera control and discuss the benefits of each.

When ARRI debuted their “large format” camera series with the full-size ALEXA LF in 2018, it came with a new, and somewhat radical, lens mount dubbed LPL, for ‘Large Positive Lock’. LPL is similar to the classic PL-mount (itself also an ARRI invention) used on cinema cameras since the early 80s but with a couple of noteworthy differences.