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Cinematographers Schweiz Suisse Svizzera Svizra unites talented professionals based in Switzerland.

Field Notes.

Illumination of an 800-meter stretch of highway at night: ALEXA 35 ES mode and SkyPanel X in use

Cinematographer Ralph Kaechele looks back on the shoot for the German-Austrian miniseries *Hundertdreizehn* (produced for ARD) — a drama centering on the various lives intertwined by a serious accident. While he continued to use the ALEXA Mini LF for the dramatic scenes, the night-time exterior shots—filmed on a dark, roughly 800-meter stretch of highway—called for the ALEXA 35 in ES (Enhanced Sensitivity) mode. This resulted in clear images featuring rich colors and highly detailed flames. Kaechele also discusses why ARRI Rental’s ALFA anamorphic lenses were so well-suited to a story told through faces, how he used SkyPanel X fixtures to simulate the glow of the fire behind the wrecked vehicles, how he matched LogC3 and LogC4 during the grading process, and much more.

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ARRI India Showreel 2025 [4K HDR]

Note on HDR playback This showreel was edited in HDR and requires an HDR-compatible display with the appropriate EOTF setting for optimal playback. macOS: Play HDR videos on your Mac – Apple Support: https://support.apple.com/en-us/102205 Windows: HDR settings in Windows – Microsoft Support: https://support.microsoft.com/en-US/W... Android/iOS: HDR playback is automatic on devices with an HDR-capable display and the latest version of the YouTube app – no manual setup is required. Look for the “HDR” icon next to the resolution (e.g., 2160p HDR) in the video settings to confirm playback. We are pleased to present the ARRI Camera Showreel India 2025. It celebrates an extraordinary year of Indian storytelling, captured with ARRI camera systems and lenses. This showreel showcases the diversity of productions and creative visions realized with the ALEXA 35, ALEXA Mini LF, ALEXA LF, ALEXA Mini, ARRIFLEX 416, Signature Primes & Zooms and Ensō Primes.

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Why Your Camera Will Never Look Like ARRI — And How to Get Close

Hi I'm Wade. I’m a visual artist working across commercial video, and 3D/CG-driven storytelling. ▶︎My Website (Showcase) https://tomonoma.com/studio Why does the ARRI Alexa look so cinematic even compared to modern cameras like the Sony FX3 and Canon C70? In this video, I break down the secrets behind the ARRI look: color science, skin tones, highlight rolloff, and how to get closer to it on any camera. I also cover what makes ARRI's approach to color unique and why "imperfection" is part of what makes it beautiful. https://tomonoma.com/studio/journal/why-arri-color-looks-beautiful

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This is ARRI LUKA – light, camera, previs.

We present ARRI LUKA, an intuitive plugin for Unreal Engine that integrates ARRI lighting and camera tools into a real-time virtual environment. In this guided tour, we'll show you how LUKA helps you test lighting and camera setups, explore creative looks, and prepare for shoots. With precise ARRI Virtual Fixtures, ARRI Virtual Cameras, real-time rendering, and support for previsualization, LED wall production, and post-production workflows, LUKA provides a powerful platform for planning and creative decision-making. Whether you're a cinematographer, lighting technician, filmmaker, virtual production artist, or film student, LUKA makes it easier to visualize ideas, optimize setups, and quickly find practical solutions.

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ARRI ALEXA 35 / ALEXA 35 Xtreme Showreel 2026

We are pleased to present our brand new ALEXA 35 / ALEXA 35 Xtreme Showreel, which showcases a wide range of recent productions filmed with the cameras – from Hollywood blockbusters to music videos and showreels!

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ARRI, 12 Points: How Eurovision 2026 Was Shot on 24 ALEXA 35 Live Cameras

For the first time ever, the Eurovision Song Contest was shot entirely on cinema cameras. We spent more than six weeks embedded with ARRI to document how 24 ALEXA 35 Live systems took over the world's biggest live music event, watched by roughly 180 million people. ARRI defines how movies look. The vast majority of Oscar-winning films are shot on ALEXA, yet in live broadcast, a world ruled for decades by Grass Valley and Sony, the company had essentially zero presence. Eurovision 2026, hosted by ORF at the Wiener Stadthalle in Vienna, became the most demanding proving ground imaginable: 24 ALEXA 35 Live cameras across box lenses, Steadicams, wireless rigs, remote dollies, cable cams, and giant telescopic cranes, all matched and shaded live. This documentary follows the entire journey, from cameras hand-built out of milled aluminum and titanium in Munich, to integration into an OB van designed for completely different cameras, to a custom look pipeline that treated each of the 35 competing songs like its own live music video (over 50 looks in total). We don't skip the hard parts either: the friction over creative control, the physics of B4 lens light loss, the network-traffic surprises, the tally bugs fixed on site, and the one broken cable that froze a frame during the grand final. Featuring ARRI's Sean Dooley, Jannik Abelt, Thomas Stoschek, and colorist Florian Rettich, NEP's Erhard Thüringer, ORF's Michael Kogler and Max Meissl, and Riedel Communications CEO Thomas Riedel on the acquisition that brought cinema cameras and broadcast infrastructure under one roof. A CineD production in collaboration with ARRI.

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ARRI's New Owner Thomas Riedel, with Chris Richter and David Bermbach: Exclusive NAB 2026 Interview

Just five days after signing the deal to acquire ARRI, Thomas Riedel joins CineD at ARRI House during NAB 2026, alongside ARRI Managing Directors Chris Richter and David Bermbach, for an exclusive conversation about the future of one of cinema's most iconic brands. We talk about the industry reaction to the acquisition, Thomas's unexpected history with ARRI going back to the Lillehammer Olympics, why cinema stays top-end while ARRI opens up to the next generation of filmmakers, the 26 ALEXA cameras heading to Eurovision 2026 in Vienna, the HONOR smartphone partnership, ARRI Rental, the ARRI Academy and MZed, and what ARRI might look like in 2031.

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ARRI ALEXA 35 Live at Eurovision 2026: A Cinematic Look for the World's Biggest Show

For the first time ever, ARRI is supplying most cameras (ALEXA 35 Live) for the Eurovision Song Contest production. mebucom met David Bermbach (ARRI) and Axel Engström (NEP Group) on site in Vienna, where ORF and the EBU are producing ESC 2026 with NEP's UHD2 (Netherlands) and UHD24 (Germany) OB units. The integration brings a cinematic, emotion-driven look – familiar from feature films – into one of the world's largest live broadcasts. Every nation and every delegation could define their own LUTs and creative looks, turning each performance into something closer to a music video.

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ARRI ALEXA 35 Live at Eurovision 2026 – CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History

For the first time in the history of the Eurovision Song Contest, the entire show is being shot on ARRI cameras. 24 ARRI ALEXA 35 Live camera systems are capturing the 2026 edition of the world’s biggest live music event at the Wiener Stadthalle in Vienna, Austria. CineD has been on the ground for the past five weeks as part of an exclusive media cooperation with ARRI, documenting the entire process from start to finish.

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