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ARRI has released Software Update Package SUP 6.2.0 for the ALEXA 35, ALEXA 35 Xtreme, ALEXA 35 Live, ALEXA 35 Live Xtreme, and ALEXA 265. The main features of this release are the...
For a limited time, ARRI Australia is offering an extended warranty on new ALEXA 35 Xtreme Base and Premium camera packages. With this promotion, purchases now include 4 years of w...
ARRI is bringing SMPTE ST 2110 support for the ALEXA 35 Live Multicam System. This opens the system up to fully IP-based broadcast studios, stadiums, high-end flypacks, and remote...
ARRI has released Software Update Package (SUP) 3.6.6 for the Hi-5 and Hi-5 SX. New features include focus marks now being able to be handled by ALEXA 35 cameras and the ALEXA 265,...
The Cinelux Reduxa A1 is the first focal reducer system for the ARRI Alexa Classic, XT and SXT. I previously featured it on the site, when it was still very much in the prototype s...
ARRI has released Software Update Package 6.2.0 for the ALEXA 35, ALEXA 35 Xtreme, ALEXA 35 Live and ALEXA 265. The update connects the Focusbug Cine RT rangefinder directly to the...
Back in July, CINELUX teased the REDUXA A1, a focal reducer that lets older ARRI ALEXA cameras shoot with full-frame lenses. Now the British company has put dates and prices on it....
Cinematographer Ralph Kaechele recently used the ARRI ALEXA 35 and SkyPanel X fixtures to shoot the German-Austrian miniseries “Hundertdreizehn” (“One Hundred and Thirteen”) for AR...
Big news for high-end filmmakers and cinematographers as ARRI has unveiled a notable new Software Update Package (SUP) that adds new features and capabilities to its full range of...
ARRI Film Lab 1.5 adds 8mm, 16mm, and 65mm looks, anamorphic grain, and ACES 2.0 support.
I have seen people wrapping cars, but not cameras! ALPHAGVRD is teasing a new upcoming skin for the ARRI Alexa Mini LF. The 3M vinyl skins are claimed to ensure protection against...
ILLUVISION has recently introduced the MAGNA 65-350mm T3.6, which is essentially a repurposed ARRI/FUJINON Alura 45-250mm T2.6 Studio Zoom with a built-in optical expander that upg...
ARRI has released Film Lab 1.5, a major update to its OpenFX plugin that brings the look of analog film to digital images. The new version adds 8mm, 16mm and 65mm film formats, ana...
HONOR has launched the Magic9 Pro Max in China, and for the first time, the ARRI logo sits on the phone itself and on the box. Following the Robot Phone in August, this is the seco...
Joel Famularo has released his long-awaited Phantom LUTs for the Nikon ZR, bringing the ARRI Alexa emulation his packs are known for to Nikon’s compact cinema camera. The Gen 1 rel...
Long anticipated, now a reality: a production version of the new Sony FX5 with final firmware has arrived at our CineD headquarters in Vienna. Time to run it through our standard C...
Nearly a year ago, Arri, one of the biggest names in cinema, launched Film Lab. It's an OpenFX plugin for industry-standard video editing and color grading workflows that promises...
The iPhone 18 Pro is the first iPhone with a variable aperture on its main camera – four fixed positions from f/1.48 to f/4, with the wide-open setting half a stop faster than befo...
Mavis Camera 8.2 supports the iPhone 18 Pro's variable aperture. It also adds ProRes RAW recording to SSD, HDMI output, and a WebSocket API.
ARRI is having a free live webinar called Exploring ARRICORE: A Visually Lossless RGB Codec that will be hosted by commercial DP Charles Bergquist, along with Picture Shop’s Superv...
HONOR's flagship now carries ARRI logos on the device itself. It follows August's Robot Phone, and brings native LogC3 and ARRI Looks to a 200 MP dual-camera setup.
Panavision and Warner Bros. have posted up a BTS video from Digger where director Alejandro G. Iñárritu and Tom Cruise talk about the work of cinematographer Emmanuel “Chivo” Lubez...
ARRI and HONOR have announced the co-branded HONOR Magic9 Pro Max, which marks their second collaboration after the Robot Phone. The HONOR Magic9 Pro Max is part of the company’s f...
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