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.

Chapman University is a private research university located in Orange, California. It encompasses ten schools and colleges, including the Lawrence and Kristina Dodge College of Film and Media Arts, which has been recognized as one of the top ten film schools in the world. To better adapt to today's changing production needs, the team at Chapman developed a new curriculum around virtual production, including the installation of an LED wall on one of their sound stages.

We all know the moment... when a film cuts to a close up and the depth of field is so narrow that we immediately lock onto the lead’s eyes. The character's emotions and place in their world are so clear to us, the audience, as we experience this moment with them. We are not bystanders; we are participants. The image is intimate, organic, and just like that, we get goosebumps.

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.

The Canon EOS C70 marries the strengths of the Cinema EOS series with the EOS R series, which results in a compact but powerful S35 4K solution for all scenarios. In this video, I'll explore how the C70 is a perfect "bridge" camera for DSLR or mirrorless users making the transition to cinema.

At this point in time, audiences have become accustomed to the idea of award shows incorporating some version of remote or virtual collaboration, especially as travel restrictions keep much of the talent at home. So when Dick Clark Productions chose to reunite the Emmys producing team for this year's Golden Globes and reached out to Mike Nichols, AbelCine Business Development Manager, our previous experience with the remote camera and lighting kits proved invaluable. We were able to build, set up, deliver, and remotely control a number of identical "drop kits" that were delivered to various nominee locations across the country.

In this video, I take a deep dive into the features and performance of the ARRI Orbiter LED Light. Key features include the fixture’s incredibly bright output, remarkable versatility (thanks to its changeable optics), 2,000K to 20,000K CCT range, fast processor (4x faster than the SkyPanel), expanded connectivity, integrated array of sensors, weatherproof housing, smooth dimming, and more.

While this article is focused on the advancements in ARRI lighting technology, one can draw parallels from ARRI’s camera and Professional Camera Accessories (PCA) line to understand the design philosophy and evolution of the greater lighting ecosystem. No other brand has such tight integration between camera, lens, and mechanical or electronic accessories. There are plenty of examples to draw from, but innovations like incorporated wireless focus motor receivers and wireless video transmission in the ALEXA SXT-W, the interconnectivity of the entire LBUS range of motors and focus tools, and wireless range extension for various families of products with the ERM-2400 all showcase ARRI’s unified design philosophy.

Recently, I had the opportunity to sit down for a conversation with Ellen Kuras, ASC to discuss her work as the cinematographer on David Byrne's American Utopia, a concert film directed by Spike Lee.