Another Vintage Year at CANNES Film Festival For ARRI


60% of feature films from all selections shot with ARRI equipment and more than 40% captured with the ARRI ALEXA and ARRI cine lenses

Another festive moment was shared for the first time in 2015 with the PGA (Producers Guild of America) and APC (French Producers Association): a drinks reception held at the French Film Commission Pavilion gave American and French producers the opportunity to meet each other, and to peruse current ARRI products such as the ALEXA Mini and Master Anamorphic lenses. By hosting this successful new event, ARRI reasserted its commitment to manufacturing equipment that combines quality and economy – two particularly important issues for producers.

ARRI at the 2015 Cannes Film Festival

Naturally ARRI paid particular attention to cinematographers and over the course of the festival filmed interviews with many of them about their work on the films in competition. A highlight this year was an interview with Roger Deakins ASC, BSC, CBE on the film SICARIO, which he shot with ALEXA cameras and Master Prime lenses, experimenting with the ALEXA Open Gate shooting mode to maximize spatial resolution. All of the video interviews will be appearing on the ARRI website soon.

Representatives from the global ARRI Rental group were also in attendance at ARRI’s festival events, alongside colleagues from the postproduction company ARRI Media (formerly ARRI Film & TV) and ARRI Worldsales, which had a booth at the film market.

A wonderfully successful festival again for ARRI in Cannes, with almost 60% of feature films from all selections being shot with ARRI equipment and more than 40% captured with the ARRI ALEXA and ARRI cine lenses. Overall, more than half of the festival’s films that were shot digitally used ALEXA as their main camera, showing that ARRI remains the pre-eminent technology leader, setting a gold standard for the rest of the industry.

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