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Production & Post

Best of both worlds

Showing on the Ikegami stand F25 is the HDK-97 ARRI camera. Jointly developed by Ikegami and ARRI, this is a pioneering new broadcast-style production camera with digital cinema characteristics.


Arri installs giant LED Fresnel wall

German TV news provider Tagesschau has outfitted its €23.8m new studio with 99 Arri L7-C LED Fresnels, gaining huge cost savings and full colour controllability along the way.


Cameras gain from HDR

Higher dynamic range, with 20 times the contrast of standard video, offers better colour rendition and the image sharpness is “profoundly different. It really is as close to the eye as you can get with today’s technology,” said Milan Krsljanin, Arri’s director of business development at IBC.


Blackmagic captures The Driver for the BBC

Director of photography David Luther (The Mill) shares an insight into the filming with the Blackmagic Pocket Cinema on the new three-part drama co-produced by Highfield Pictures and award-winning RED Production Company for BBC One.


Master Anamorphic family completed

The new Master Anamorphic MA135/T1.9 lens is the seventh lens in the Master Anamorphic family jointly developed by Arri and Zeiss, and completes the range.


Arri’s Alexa supports ProRes 4444 XQ

Arri has become the first camera maker to support Apple’s new ProRes 4444 XQ codec, the highest-quality version of ProRes to date, which is designed to preserve all the detail in higher-dynamic range imagery through post production.


X-Men relies on Codex

Multiple Codex recording and workflow technologies were used in the production to post pipeline on 20th Century Fox’s film X-Men: Days of Future Past.