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Introducing ARRI Omnibar: compact, modular, battery-powered IP65 LED bars with precise pixel control! Available in 2‑ and 4‑foot lengths, Omnibars offer ARRI light quality and a modular system with flexible mounting, interchangeable optics, and wired as well as wireless control. Built for motion picture, live entertainment, and content creation, Omnibar combines full-spectrum light output, high-resolution effects, modular scalability, and durable weather protection for reliable indoor and outdoor use, whether on set, on stage, or in a small studio.
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👉 Watch the full guided tour and learn everything about our newest addition to the ARRI lighting family at arri.com/omnibar (link in bio)!
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#ARRI #Omnibar #ARRILighting

More speed. Less data. Building on the ALEXA 35’s foundation, ALEXA 35 Xtreme uses powerful new hardware to deliver Xtreme performance and flexibility, including:

• Higher frame rates for high-speed cinematography, reducing the need for dedicated slow-motion cameras
• Next-generation ARRICORE codec maximizes image quality and postproduction flexibility at lower data rates, saving time and money
• New Sensor Overdrive mode unlocks even higher maximum frame rates for extreme slow motion
• 5x longer pre-recording times, now up to five minutes
• Improved efficiency, with 10% power savings compared to ALEXA 35
• Enhanced wireless connectivity through WiFi 5 GHz band, WiFi roaming, and auto-reconnect to previously known networks

ALEXA 35 Xtreme replaces the original ALEXA 35, delivering the same superior image quality, ease of use, and reliable operation, but with added flexibility and performance—all at no additional cost. To protect your investment, upgrade paths are available for all current ALEXA 35 owners.

🔗 Learn more about features, upgrades, and capabilities at arri.com/alexa35xtreme and head over to YouTube for the full guided tour at link in bio.

#ARRI #ALEXA35Xtreme #capturedwithALEXA35Xtreme #ARRICORE #highspeedshots #highspeedcamera #slowmotion #cinematography #filmmaking

ARRI proudly presents the new Ensō Prime lenses! 🎥✨

Join Art Adams (@artadamsdp) on a Guided Tour as he introduces this versatile lens series. Offering 14 focal lengths and the ability to customize your look, these compact and lightweight lenses adapt to any production.

Inspired by Zen philosophy, Ensō lenses are designed to help you fully embrace your creative flow and bring your vision to life.

Want to learn more? Check the link in bio!
Got questions? Contact: lenses@arri.com

#ARRIEnsōs #EnsōPrimes #Ensōlense #ARRIEnso #ARRIEnsos #EnsoPrimes #Ensolenses #EnsoVintageElements

Additional Cinematography provided by:
Aiden Ulrich (@Aidenulrich)
Joanna Cameron (@joannacamerondp)
Karl Walter Lindenlauub ASC (@kwlindenlaub)
Kate Cornish (@screenkate)
Lali Rubio Panadès (@lalirp)
Michael Schrom (@schromco)
Tom Black (@tomblackdp)
Tom Fährmann
Trudi Gultom (@trudaayy)
Vijay Kartik Kannan (@vijaykartikkannan)

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
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Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
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Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
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Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
ㅤ
Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

I love the versatility of the ALEXA 35. I have always loved the ARRI camera workflow, these cameras excel on every level but the ALEXA 35's dynamic range, color science, size and dependability is unmatched in my opinion. How it handles highlights above all is what really impresses me. I'm not afraid to go a bit hotter because the fall off is quite beautiful straight out of the camera. It actually challenges me to explore more because I feel I can really push the camera and what you find at those limits are great. I also took advantage of the textures. This is something I recommend testing because there are many options and ways to use them but with the right combinations there is something incredibly unique about the look and its an extra layer in creating something in camera and on set.So much freedom to push and be creative in serving the story.
— Cinematographer Greta Zozula (@gzoz) on shooting Hulu's "The Testaments" with the ALEXA 35.
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Photos: Matt Irwin & Greta Zozula

#ARRI #ALEXA35 #CapturedwithARRI

The 79th Festival de Cannes is starting today with the screening of the French film "La Vénus électrique," shot by DP Julien Poupard with the ALEXA Mini LF. The opening film is just one of many at the festival that were captured with ARRI cameras. Take a look at the statistics for this year’s Main Competition in our overview graphic 🎥
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#ARRI #CapturedWithARRI #Cannes2026 #FestivaldeCannes

The 79th Festival de Cannes is starting today with the screening of the French film "La Vénus électrique," shot by DP Julien Poupard with the ALEXA Mini LF. The opening film is just one of many at the festival that were captured with ARRI cameras. Take a look at the statistics for this year’s Main Competition in our overview graphic 🎥
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#ARRI #CapturedWithARRI #Cannes2026 #FestivaldeCannes

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
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Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
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#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
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Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
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#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
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Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
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#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
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Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
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#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
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Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
ㅤ
#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
ㅤ
Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
ㅤ
#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
ㅤ
Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
ㅤ
#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

French electro composer @Surkin and director Romain Gavras (@romaingavras) present a look behind the scenes of “STORM I & II” with Gener8ion, shot on an ARRIFLEX 416 by Matias Boucard (@boucardmatias) and Lara Perrotte Boucard (@lara_perrotteboucard).
ㅤ
Director: Romain Gavras
Starring: Yung Lean (@yunglean2001)
Rental: @rvzparis
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#ARRI #ARRIFrance #CapturedWithARRI #ARRIFLEX

Filmmakers and creatives all over the world have already tested the new ARRI Omnibar and its many accessories in various lighting setups – swipe through the slides to read about their experiences!
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👉 Learn more at arri.com/omnibar (link in bio)
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#ARRI #Omnibar #ARRILighting

Filmmakers and creatives all over the world have already tested the new ARRI Omnibar and its many accessories in various lighting setups – swipe through the slides to read about their experiences!
ㅤ
👉 Learn more at arri.com/omnibar (link in bio)
ㅤ
#ARRI #Omnibar #ARRILighting

Filmmakers and creatives all over the world have already tested the new ARRI Omnibar and its many accessories in various lighting setups – swipe through the slides to read about their experiences!
ㅤ
👉 Learn more at arri.com/omnibar (link in bio)
ㅤ
#ARRI #Omnibar #ARRILighting

Filmmakers and creatives all over the world have already tested the new ARRI Omnibar and its many accessories in various lighting setups – swipe through the slides to read about their experiences!
ㅤ
👉 Learn more at arri.com/omnibar (link in bio)
ㅤ
#ARRI #Omnibar #ARRILighting

Filmmakers and creatives all over the world have already tested the new ARRI Omnibar and its many accessories in various lighting setups – swipe through the slides to read about their experiences!
ㅤ
👉 Learn more at arri.com/omnibar (link in bio)
ㅤ
#ARRI #Omnibar #ARRILighting

Filmmakers and creatives all over the world have already tested the new ARRI Omnibar and its many accessories in various lighting setups – swipe through the slides to read about their experiences!
ㅤ
👉 Learn more at arri.com/omnibar (link in bio)
ㅤ
#ARRI #Omnibar #ARRILighting

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

A big thank you to everyone who stopped by our booth at @_eurocine_ to discover our latest toys: Omnibar and cforce MAX! Come and chat with an ARRI expert for the final day today, we'd love to meet you. Also on display are the ALEXA 35 Xtreme, Ensō lenses, SmallHD Monitor Overlays for the Hi-5 and more!

"You can get a film look into the live broadcast environment — 100% different to all other broadcast cameras.“

ARRI has rolled 24 ALEXA 35 Live cameras into the upcoming Eurovision Song Contest 2026 in Vienna, the biggest live music event in the world. Prepped at ARRI’s Munich HQ, integrated into NEP’s OB vans, then driven straight to the venue in Vienna.

CineD is following the entire production from its start im Munich to finish at the actual Eurovision show in Vienna.

The setup mixes fiber-tethered cameras on ARRI’s LPS-1 system with wireless Steadicams, handhelds, and robotic rigs. Each shader handles 6 to 8 cameras. The team calls it „coordinated chaos.“

The pitch: cinema sensor sensitivity and color inside a live multicam workflow — something viewers at home will clearly see with images that will look more spectacular than ever before.

Cinematographer Krystian Winszewski (@krystianwinszewski) takes us behind the scenes of the documentary "Anmore," which he captured on the ALEXA Mini LF with ARRI Signature Prime lenses, along with the 65–300 mm Signature Zoom and a positive Impression Filter. 🎥🐎 The project tells the story of a dressage company in the UK that has grown to achieve national success. Winszewski shares why he chose ARRI’s Signature lenses and filters to achieve the visual style:
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"I chose the ARRI Signature Primes because I really love their character, and the flexibility they offer when shaping the image further using Impression Filters. The filters soften the edges of the image beautifully, creating a more organic and painterly look. It felt like the perfect choice for filming horses — capturing both their strength and their sensitivity in a more refined, cinematic way.

"Maintaining a respectful distance from the horses was essential. Using the 65–300 mm Signature Zoom allowed me to stay further back while still capturing the detail and presence of these incredible animals. Importantly, being part of the Signature family meant I could still use Impression Filters on the zoom, keeping a consistent visual language across all shots. Overall, this combination gave me the ability to capture both the beauty and the subtle emotional qualities of the horses without disturbing them.”

Watch the full documentary at the link in bio!
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Director / DP: Krystian Winszewski (@krystianwinszewski /@epicshotpictures)
Color grading: Misha Kim (@m.kim.colour)
Sound design: Thomas Gee (@soundsofgee)
1st AC Focus puller: Jon Wetherall (@jonwfw)
2nd AC: Jake Allen (@steadi.jake)
Dressage company: @anmoredressage
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#ARRI #ARRISignatureZooms #ARRISignaturePrimes #ImpressionFilters #ALEXAMiniLF

Cinematographer Krystian Winszewski (@krystianwinszewski) takes us behind the scenes of the documentary "Anmore," which he captured on the ALEXA Mini LF with ARRI Signature Prime lenses, along with the 65–300 mm Signature Zoom and a positive Impression Filter. 🎥🐎 The project tells the story of a dressage company in the UK that has grown to achieve national success. Winszewski shares why he chose ARRI’s Signature lenses and filters to achieve the visual style:
ㅤ
"I chose the ARRI Signature Primes because I really love their character, and the flexibility they offer when shaping the image further using Impression Filters. The filters soften the edges of the image beautifully, creating a more organic and painterly look. It felt like the perfect choice for filming horses — capturing both their strength and their sensitivity in a more refined, cinematic way.

"Maintaining a respectful distance from the horses was essential. Using the 65–300 mm Signature Zoom allowed me to stay further back while still capturing the detail and presence of these incredible animals. Importantly, being part of the Signature family meant I could still use Impression Filters on the zoom, keeping a consistent visual language across all shots. Overall, this combination gave me the ability to capture both the beauty and the subtle emotional qualities of the horses without disturbing them.”

Watch the full documentary at the link in bio!
ㅤ
Director / DP: Krystian Winszewski (@krystianwinszewski /@epicshotpictures)
Color grading: Misha Kim (@m.kim.colour)
Sound design: Thomas Gee (@soundsofgee)
1st AC Focus puller: Jon Wetherall (@jonwfw)
2nd AC: Jake Allen (@steadi.jake)
Dressage company: @anmoredressage
ㅤ
#ARRI #ARRISignatureZooms #ARRISignaturePrimes #ImpressionFilters #ALEXAMiniLF

Cinematographer Krystian Winszewski (@krystianwinszewski) takes us behind the scenes of the documentary "Anmore," which he captured on the ALEXA Mini LF with ARRI Signature Prime lenses, along with the 65–300 mm Signature Zoom and a positive Impression Filter. 🎥🐎 The project tells the story of a dressage company in the UK that has grown to achieve national success. Winszewski shares why he chose ARRI’s Signature lenses and filters to achieve the visual style:
ㅤ
"I chose the ARRI Signature Primes because I really love their character, and the flexibility they offer when shaping the image further using Impression Filters. The filters soften the edges of the image beautifully, creating a more organic and painterly look. It felt like the perfect choice for filming horses — capturing both their strength and their sensitivity in a more refined, cinematic way.

"Maintaining a respectful distance from the horses was essential. Using the 65–300 mm Signature Zoom allowed me to stay further back while still capturing the detail and presence of these incredible animals. Importantly, being part of the Signature family meant I could still use Impression Filters on the zoom, keeping a consistent visual language across all shots. Overall, this combination gave me the ability to capture both the beauty and the subtle emotional qualities of the horses without disturbing them.”

Watch the full documentary at the link in bio!
ㅤ
Director / DP: Krystian Winszewski (@krystianwinszewski /@epicshotpictures)
Color grading: Misha Kim (@m.kim.colour)
Sound design: Thomas Gee (@soundsofgee)
1st AC Focus puller: Jon Wetherall (@jonwfw)
2nd AC: Jake Allen (@steadi.jake)
Dressage company: @anmoredressage
ㅤ
#ARRI #ARRISignatureZooms #ARRISignaturePrimes #ImpressionFilters #ALEXAMiniLF

Cinematographer Krystian Winszewski (@krystianwinszewski) takes us behind the scenes of the documentary "Anmore," which he captured on the ALEXA Mini LF with ARRI Signature Prime lenses, along with the 65–300 mm Signature Zoom and a positive Impression Filter. 🎥🐎 The project tells the story of a dressage company in the UK that has grown to achieve national success. Winszewski shares why he chose ARRI’s Signature lenses and filters to achieve the visual style:
ㅤ
"I chose the ARRI Signature Primes because I really love their character, and the flexibility they offer when shaping the image further using Impression Filters. The filters soften the edges of the image beautifully, creating a more organic and painterly look. It felt like the perfect choice for filming horses — capturing both their strength and their sensitivity in a more refined, cinematic way.

"Maintaining a respectful distance from the horses was essential. Using the 65–300 mm Signature Zoom allowed me to stay further back while still capturing the detail and presence of these incredible animals. Importantly, being part of the Signature family meant I could still use Impression Filters on the zoom, keeping a consistent visual language across all shots. Overall, this combination gave me the ability to capture both the beauty and the subtle emotional qualities of the horses without disturbing them.”

Watch the full documentary at the link in bio!
ㅤ
Director / DP: Krystian Winszewski (@krystianwinszewski /@epicshotpictures)
Color grading: Misha Kim (@m.kim.colour)
Sound design: Thomas Gee (@soundsofgee)
1st AC Focus puller: Jon Wetherall (@jonwfw)
2nd AC: Jake Allen (@steadi.jake)
Dressage company: @anmoredressage
ㅤ
#ARRI #ARRISignatureZooms #ARRISignaturePrimes #ImpressionFilters #ALEXAMiniLF

Cinematographer Krystian Winszewski (@krystianwinszewski) takes us behind the scenes of the documentary "Anmore," which he captured on the ALEXA Mini LF with ARRI Signature Prime lenses, along with the 65–300 mm Signature Zoom and a positive Impression Filter. 🎥🐎 The project tells the story of a dressage company in the UK that has grown to achieve national success. Winszewski shares why he chose ARRI’s Signature lenses and filters to achieve the visual style:
ㅤ
"I chose the ARRI Signature Primes because I really love their character, and the flexibility they offer when shaping the image further using Impression Filters. The filters soften the edges of the image beautifully, creating a more organic and painterly look. It felt like the perfect choice for filming horses — capturing both their strength and their sensitivity in a more refined, cinematic way.

"Maintaining a respectful distance from the horses was essential. Using the 65–300 mm Signature Zoom allowed me to stay further back while still capturing the detail and presence of these incredible animals. Importantly, being part of the Signature family meant I could still use Impression Filters on the zoom, keeping a consistent visual language across all shots. Overall, this combination gave me the ability to capture both the beauty and the subtle emotional qualities of the horses without disturbing them.”

Watch the full documentary at the link in bio!
ㅤ
Director / DP: Krystian Winszewski (@krystianwinszewski /@epicshotpictures)
Color grading: Misha Kim (@m.kim.colour)
Sound design: Thomas Gee (@soundsofgee)
1st AC Focus puller: Jon Wetherall (@jonwfw)
2nd AC: Jake Allen (@steadi.jake)
Dressage company: @anmoredressage
ㅤ
#ARRI #ARRISignatureZooms #ARRISignaturePrimes #ImpressionFilters #ALEXAMiniLF

Cinematographer Krystian Winszewski (@krystianwinszewski) takes us behind the scenes of the documentary "Anmore," which he captured on the ALEXA Mini LF with ARRI Signature Prime lenses, along with the 65–300 mm Signature Zoom and a positive Impression Filter. 🎥🐎 The project tells the story of a dressage company in the UK that has grown to achieve national success. Winszewski shares why he chose ARRI’s Signature lenses and filters to achieve the visual style:
ㅤ
"I chose the ARRI Signature Primes because I really love their character, and the flexibility they offer when shaping the image further using Impression Filters. The filters soften the edges of the image beautifully, creating a more organic and painterly look. It felt like the perfect choice for filming horses — capturing both their strength and their sensitivity in a more refined, cinematic way.

"Maintaining a respectful distance from the horses was essential. Using the 65–300 mm Signature Zoom allowed me to stay further back while still capturing the detail and presence of these incredible animals. Importantly, being part of the Signature family meant I could still use Impression Filters on the zoom, keeping a consistent visual language across all shots. Overall, this combination gave me the ability to capture both the beauty and the subtle emotional qualities of the horses without disturbing them.”

Watch the full documentary at the link in bio!
ㅤ
Director / DP: Krystian Winszewski (@krystianwinszewski /@epicshotpictures)
Color grading: Misha Kim (@m.kim.colour)
Sound design: Thomas Gee (@soundsofgee)
1st AC Focus puller: Jon Wetherall (@jonwfw)
2nd AC: Jake Allen (@steadi.jake)
Dressage company: @anmoredressage
ㅤ
#ARRI #ARRISignatureZooms #ARRISignaturePrimes #ImpressionFilters #ALEXAMiniLF

"We tested several lenses and then decided on the ARRI Rental DNAs, which were the perfect choice for this project. We wanted the film to have a naturalistic look, and these lenses gave us exactly that with their vintage character, beautiful falloff, and pleasing skin tones. When combined with the ALEXA Mini LF, the DNAs produced the visuals we had in mind for this film from the very beginning." Cinematographer Micky Graeter BVK (@micky91) on working with ARRI Rental's DNA lenses and the ARRI ALEXA Mini LF on German film "Der Verlorene Mann/ The Fading Man".
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In cinemas from May 7th
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📷Maverick Film
ㅤ

#ARRIRental #ARRI #DNA #ALEXAMiniLF #derverlorenemann

"We tested several lenses and then decided on the ARRI Rental DNAs, which were the perfect choice for this project. We wanted the film to have a naturalistic look, and these lenses gave us exactly that with their vintage character, beautiful falloff, and pleasing skin tones. When combined with the ALEXA Mini LF, the DNAs produced the visuals we had in mind for this film from the very beginning." Cinematographer Micky Graeter BVK (@micky91) on working with ARRI Rental's DNA lenses and the ARRI ALEXA Mini LF on German film "Der Verlorene Mann/ The Fading Man".
ㅤ
In cinemas from May 7th
ㅤ
📷Maverick Film
ㅤ

#ARRIRental #ARRI #DNA #ALEXAMiniLF #derverlorenemann

"We tested several lenses and then decided on the ARRI Rental DNAs, which were the perfect choice for this project. We wanted the film to have a naturalistic look, and these lenses gave us exactly that with their vintage character, beautiful falloff, and pleasing skin tones. When combined with the ALEXA Mini LF, the DNAs produced the visuals we had in mind for this film from the very beginning." Cinematographer Micky Graeter BVK (@micky91) on working with ARRI Rental's DNA lenses and the ARRI ALEXA Mini LF on German film "Der Verlorene Mann/ The Fading Man".
ㅤ
In cinemas from May 7th
ㅤ
📷Maverick Film
ㅤ

#ARRIRental #ARRI #DNA #ALEXAMiniLF #derverlorenemann

"We tested several lenses and then decided on the ARRI Rental DNAs, which were the perfect choice for this project. We wanted the film to have a naturalistic look, and these lenses gave us exactly that with their vintage character, beautiful falloff, and pleasing skin tones. When combined with the ALEXA Mini LF, the DNAs produced the visuals we had in mind for this film from the very beginning." Cinematographer Micky Graeter BVK (@micky91) on working with ARRI Rental's DNA lenses and the ARRI ALEXA Mini LF on German film "Der Verlorene Mann/ The Fading Man".
ㅤ
In cinemas from May 7th
ㅤ
📷Maverick Film
ㅤ

#ARRIRental #ARRI #DNA #ALEXAMiniLF #derverlorenemann

"'Undertone' was shot on a tight schedule with practically lit night interiors, so we needed glass that was both reliable and fast. We chose ARRI's Signatures because they perform flawlessly wide open (when paired with my 1st AC Gio Lucero). The surprise hero for us was Signature Zoom set. The 24-75 essentially became a character in the film. This character zoomed in every time something spooky happened, and it would always hit its mark.
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Aesthetically speaking the Signatures have a polished look that is a sturdy foundation to build on in color. We were working with AJ Mclean at Redlab who is a total wizard, so we shot the lenses clean and added texture in post.
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The location was our director's childhood home which is full of small rooms. We went with the LF over the 35 to open the space up a bit, allowing us to use tighter lenses. We captured in ProRes LF 16:9 which I find a very efficient format for indie sets. The end product you see if cropped to a custom aspect ratio called 'Beezvision' (2.12:1)."
— Cinematographer Graham Beasley (@gtbeez).
ㅤ
FILM: "undertone"
DIRECTOR: Ian Tuason, @iantuason
DP: Graham Beasley, @gtbeez
1st AC: Gio Lucero, @gioolucero
COLORIST: AJ Mclean, @aj_mcl,
STUDIO: A24, @a24
GEAR: ALEXA LF, SIgnature Primes, Signature Zooms

"'Undertone' was shot on a tight schedule with practically lit night interiors, so we needed glass that was both reliable and fast. We chose ARRI's Signatures because they perform flawlessly wide open (when paired with my 1st AC Gio Lucero). The surprise hero for us was Signature Zoom set. The 24-75 essentially became a character in the film. This character zoomed in every time something spooky happened, and it would always hit its mark.
ㅤ
Aesthetically speaking the Signatures have a polished look that is a sturdy foundation to build on in color. We were working with AJ Mclean at Redlab who is a total wizard, so we shot the lenses clean and added texture in post.
ㅤ
The location was our director's childhood home which is full of small rooms. We went with the LF over the 35 to open the space up a bit, allowing us to use tighter lenses. We captured in ProRes LF 16:9 which I find a very efficient format for indie sets. The end product you see if cropped to a custom aspect ratio called 'Beezvision' (2.12:1)."
— Cinematographer Graham Beasley (@gtbeez).
ㅤ
FILM: "undertone"
DIRECTOR: Ian Tuason, @iantuason
DP: Graham Beasley, @gtbeez
1st AC: Gio Lucero, @gioolucero
COLORIST: AJ Mclean, @aj_mcl,
STUDIO: A24, @a24
GEAR: ALEXA LF, SIgnature Primes, Signature Zooms

"'Undertone' was shot on a tight schedule with practically lit night interiors, so we needed glass that was both reliable and fast. We chose ARRI's Signatures because they perform flawlessly wide open (when paired with my 1st AC Gio Lucero). The surprise hero for us was Signature Zoom set. The 24-75 essentially became a character in the film. This character zoomed in every time something spooky happened, and it would always hit its mark.
ㅤ
Aesthetically speaking the Signatures have a polished look that is a sturdy foundation to build on in color. We were working with AJ Mclean at Redlab who is a total wizard, so we shot the lenses clean and added texture in post.
ㅤ
The location was our director's childhood home which is full of small rooms. We went with the LF over the 35 to open the space up a bit, allowing us to use tighter lenses. We captured in ProRes LF 16:9 which I find a very efficient format for indie sets. The end product you see if cropped to a custom aspect ratio called 'Beezvision' (2.12:1)."
— Cinematographer Graham Beasley (@gtbeez).
ㅤ
FILM: "undertone"
DIRECTOR: Ian Tuason, @iantuason
DP: Graham Beasley, @gtbeez
1st AC: Gio Lucero, @gioolucero
COLORIST: AJ Mclean, @aj_mcl,
STUDIO: A24, @a24
GEAR: ALEXA LF, SIgnature Primes, Signature Zooms

"'Undertone' was shot on a tight schedule with practically lit night interiors, so we needed glass that was both reliable and fast. We chose ARRI's Signatures because they perform flawlessly wide open (when paired with my 1st AC Gio Lucero). The surprise hero for us was Signature Zoom set. The 24-75 essentially became a character in the film. This character zoomed in every time something spooky happened, and it would always hit its mark.
ㅤ
Aesthetically speaking the Signatures have a polished look that is a sturdy foundation to build on in color. We were working with AJ Mclean at Redlab who is a total wizard, so we shot the lenses clean and added texture in post.
ㅤ
The location was our director's childhood home which is full of small rooms. We went with the LF over the 35 to open the space up a bit, allowing us to use tighter lenses. We captured in ProRes LF 16:9 which I find a very efficient format for indie sets. The end product you see if cropped to a custom aspect ratio called 'Beezvision' (2.12:1)."
— Cinematographer Graham Beasley (@gtbeez).
ㅤ
FILM: "undertone"
DIRECTOR: Ian Tuason, @iantuason
DP: Graham Beasley, @gtbeez
1st AC: Gio Lucero, @gioolucero
COLORIST: AJ Mclean, @aj_mcl,
STUDIO: A24, @a24
GEAR: ALEXA LF, SIgnature Primes, Signature Zooms

"'Undertone' was shot on a tight schedule with practically lit night interiors, so we needed glass that was both reliable and fast. We chose ARRI's Signatures because they perform flawlessly wide open (when paired with my 1st AC Gio Lucero). The surprise hero for us was Signature Zoom set. The 24-75 essentially became a character in the film. This character zoomed in every time something spooky happened, and it would always hit its mark.
ㅤ
Aesthetically speaking the Signatures have a polished look that is a sturdy foundation to build on in color. We were working with AJ Mclean at Redlab who is a total wizard, so we shot the lenses clean and added texture in post.
ㅤ
The location was our director's childhood home which is full of small rooms. We went with the LF over the 35 to open the space up a bit, allowing us to use tighter lenses. We captured in ProRes LF 16:9 which I find a very efficient format for indie sets. The end product you see if cropped to a custom aspect ratio called 'Beezvision' (2.12:1)."
— Cinematographer Graham Beasley (@gtbeez).
ㅤ
FILM: "undertone"
DIRECTOR: Ian Tuason, @iantuason
DP: Graham Beasley, @gtbeez
1st AC: Gio Lucero, @gioolucero
COLORIST: AJ Mclean, @aj_mcl,
STUDIO: A24, @a24
GEAR: ALEXA LF, SIgnature Primes, Signature Zooms

"'Undertone' was shot on a tight schedule with practically lit night interiors, so we needed glass that was both reliable and fast. We chose ARRI's Signatures because they perform flawlessly wide open (when paired with my 1st AC Gio Lucero). The surprise hero for us was Signature Zoom set. The 24-75 essentially became a character in the film. This character zoomed in every time something spooky happened, and it would always hit its mark.
ㅤ
Aesthetically speaking the Signatures have a polished look that is a sturdy foundation to build on in color. We were working with AJ Mclean at Redlab who is a total wizard, so we shot the lenses clean and added texture in post.
ㅤ
The location was our director's childhood home which is full of small rooms. We went with the LF over the 35 to open the space up a bit, allowing us to use tighter lenses. We captured in ProRes LF 16:9 which I find a very efficient format for indie sets. The end product you see if cropped to a custom aspect ratio called 'Beezvision' (2.12:1)."
— Cinematographer Graham Beasley (@gtbeez).
ㅤ
FILM: "undertone"
DIRECTOR: Ian Tuason, @iantuason
DP: Graham Beasley, @gtbeez
1st AC: Gio Lucero, @gioolucero
COLORIST: AJ Mclean, @aj_mcl,
STUDIO: A24, @a24
GEAR: ALEXA LF, SIgnature Primes, Signature Zooms