ARRI Rental Group

ARRI Rental Group Welcome to the official ARRI Rental page. ARRI Rental is a member of PLASA and abides by the PLASA Code of Conduct.

ARRI Rental is a leading provider of camera, grip and lighting equipment to the feature film, television, advertising, broadcast and events markets. Operating through a network of rental facilities in the US, UK and across Europe, the group’s combined resources and expertise allow ARRI Rental to develop and roll out exclusive, proprietary technologies. These include the ALEXA XT B+W, and the ALEXA 65, a large-format solution for high-end theatrical motion pictures, comprising a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools.

It’s 28 years since the original “Practical Magic” introduced the Owens sisters, Sally (Sandra Bullock) and Gillian (Nic...
09/11/2026

It’s 28 years since the original “Practical Magic” introduced the Owens sisters, Sally (Sandra Bullock) and Gillian (Nicole Kidman), descendants of witches burdened with a family curse that dooms any man they fall in love with. Both reprise their roles in “Practical Magic 2”, where, 25 years after the events of the first film, the family curse seems to have caught up with one of Sally’s two daughters. In a bid to break the magic once and for all, the sisters travel to the UK to seek help. 🪄

Director Susanne Bier was joined by cinematographer Simon Duggan ASC, ACS who shot the film on the ALEXA 265 with Atlas Mercury anamorphics.

“I really enjoyed using the ALEXA 265 for “Practical Magic 2”. It delivers imagery similar to the ALEXA 65, while offering slightly better dynamic range, higher light sensitivity and a simpler color workflow.

One of the most impressive aspects of the camera is its compact size. It felt just like we were using the ALEXA 35, and my operator, Mark Goellnicht, found it perfect for all the Steadicam, handheld and small remote-head work we did on this film.

As expected, the ARRI sensor gave Sandra and Nicole such great, smooth skin tones, while the secondary colors we predominantly used had a really beautiful quality to them.

We also paired the camera with Atlas Mercury 1.5x anamorphic lenses and an adapter that allowed us to use soft filtration behind the lenses.”

In theaters/cinemas now. Serviced by London.

📷 Courtesy Warner Bros. Pictures. BTS: Jaap Buitendijk

"For the passages in which memory becomes unreliable, we used an ARRI Rental HEROES LOOK lens to make the image feel sub...
09/11/2026

"For the passages in which memory becomes unreliable, we used an ARRI Rental HEROES LOOK lens to make the image feel subtly unstable and subjective. We filmed in all four seasons and had several DPs for this section. I dialled in the detuning differently for each shot. Our intention was for the distortion to feel psychological rather than like an obvious visual effect, as though the image itself could no longer be entirely trusted.
The team at ARRI Rental was enormously supportive and creatively engaged throughout the process. They understood that we were not simply looking for technically perfect images, but for lenses that could help express the interior life of the film.” 'Company' Director Casey Affleck on shooting with ARRI Rental and the exclusive HEROES Look lenses.

"Company", which premiered this week at the 83rd Venice International Film Festival was shot by principal cinematographer Masanobu Takayanagi. The camera package, including the ALEXA 265, AKIRA and HEROES LOOK lenses, was supplied by ARRI Rental.

We’re delighted to see a number of -serviced productions feature in the programme for the 70th BFI London Film Festival...
09/04/2026

We’re delighted to see a number of -serviced productions feature in the programme for the 70th BFI London Film Festival.

“Elsinore” is this year’s Opening Night Gala and was shot by Mike Eley BSC, who additionally shot “Prima Facie”, which will also receive a Gala screening.

Other Gala screenings include:
“Wild Horse Nine” — Ben Davis BSC
“Ink” — Alwin Küchler BSC
“Paper Tiger” — Joaquin Baca-Asay
“Klara and the Sun” — Mike Berlucchi ASC

Further titles featuring include:
“Gentle Monster” — Judith Kaufmann BVK
“Everytime” — Gregory Oke
“Rose” — Gerald Kerkletz

The first two episodes of Marvel Television’s “VisionQuest” are also set to premiere at the festival. Episodes 1 and 2 were shot by Christopher Ross BSC, with subsequent episodes captured by Neville Kidd ASC, BSC and Ben Smithard BSC.

Closing the festival is “The Debut”, shot by Drew Daniels.

Congratulations to all the cinematographers and filmmakers whose work features in this year’s festival.

09/03/2026

In director Kevin Macdonald’s Prime Original “The Runner”, Gal Gadot stars as a high-powered attorney whose morning run becomes a desperate race through London to save her abducted son.

Cinematographer Anthony Dod Mantle ASC, BSC, DFF captured the film’s race-against-the-clock intensity on the ALEXA Mini LF, paired with a wide-ranging mix of lenses, including Clavius, Leica Thalia, Schneider Cine-Xenon, Canon K35 and Canon FD primes, alongside the Lensbaby Composer Pro and a selection of zooms.

Watch now on Prime Video

"The Social Reckoning" A first look.Director: Aaron SorkinDP: Jeff Cronenweth ASC Operators: Lukasz Bielan, Sasha Procto...
08/31/2026

"The Social Reckoning" A first look.

Director: Aaron Sorkin
DP: Jeff Cronenweth ASC
Operators: Lukasz Bielan, Sasha Proctor
1st AC: Dan Morrison, Alejandro Martinez
2nd AC: Josh Marcoux, Dan Robinson
Loader: Paola Cernicchairo
Camera: RED V-Raptor XL global shutter, V-Raptor global shutter
Lenses: ARRI Rental DNA LF
Supported by ARRI Rental Vancouver

See last slide.
This film also carries a loss. Alejandro Martinez served as 1st AC on The Social Reckoning. He passed away this spring.He is deeply missed by everyone he worked with.

08/24/2026

James Laxton ASC is nominated for Outstanding Cinematography at this year's Emmy Awards for "BEEF" Season 2. We caught up with James to talk about the visual world behind the show — how shooting with the ALEXA 265 and DNA lenses served an intimate character-driven story, and what it takes to light a country club so it feels like a trap.

Watch the full interview here 👉 https://arri.link/4gPsave

Go behind the scenes of season two of "The Agency," captured on the ALEXA 35 with ARRI Rental's ALFA 2x anamorphic lense...
08/20/2026

Go behind the scenes of season two of "The Agency," captured on the ALEXA 35 with ARRI Rental's ALFA 2x anamorphic lenses. The cinematography team was led by Martin Ruhe ASC, alongside Sebastian Blenkov and Baz Irvine BSC, ISC.

Ruhe built on the established look from season one, introducing more expansive, wider compositions to emphasize scale across international locations. “Season one was great looking, so we just did a little bit of tweaking,” Ruhe says. “One of the things we wanted to add with season two is more scope: there’s more areas, there’s more wider shots.”

Hear from cinematographer Martin Ruhe in his interview with .Mag: https://arri.link/4gmXRdQ

Serviced by London. Now streaming on Paramount+.

For “Color Book”, cinematographer Nikolaus ‘Nik’ Summerer ASC chose to shoot on an ALEXA Mini LF Monochrome — a camera ...
08/12/2026

For “Color Book”, cinematographer Nikolaus ‘Nik’ Summerer ASC chose to shoot on an ALEXA Mini LF Monochrome — a camera specially converted by ARRI Rental for native black-and-white capture — paired with ARRI Rental DNA lenses.

“Working in large format—my preferred format—allowed me to approach the two characters almost as photographic portraits. The ALEXA Mini LF Monochrome sensor rendered fine detail and texture beautifully, which felt entirely appropriate for this emotional story about a father and son. I also enjoyed being able to use traditional black-and-white filtration on set to shape the image in a photographic way.

“The DNAs are fantastic lenses. I love them for their smooth, gentle character—they maintain contrast without feeling harsh or overly sharp, while delivering painterly highlights and a smooth focus roll-off. They felt like the perfect lenses for ‘Color Book’.”

ARRI Rental offers ALEXA Monochrome cameras across three formats – 65 mm, large format and Super 35.

Now screening on Netflix

📷Foster Lewis and Color Book LLC

First look at "Paper Tiger," directed by James Gray. Captured on 2-perf ARRICAM LTs with Super Baltars from ARRI Rental ...
08/10/2026

First look at "Paper Tiger," directed by James Gray. Captured on 2-perf ARRICAM LTs with Super Baltars from ARRI Rental New York.

DP: Joaquin Baca-Asay
A Camera Operator: Rachael Levine
A Camera 1st: Eric Swanek
A Camera 2nd: Tyler Swanek

In cinemas Nov 13.

Andrey Nikolaev talks about his experience on capturing,"Do I Know You From Somewhere?" "We tackled the subject of demen...
08/06/2026

Andrey Nikolaev talks about his experience on capturing,"Do I Know You From Somewhere?"

"We tackled the subject of dementia by avoiding a purely 'dramatic' visual tone, instead relying on the ALEXA 35's incredible color science to create a unique atmosphere. Shooting night-exterior street scenes without supplemental lighting, the camera's dynamic range and low-light performance were critical. I paired the ALEXA 35 with Canon FDs from ARRI Rental to soften the sensor's sharpness, and a custom in-camera LUT for deeper color separation. ARRI Rental's support and partnership made this project possible -- their collaboration is what made it work."
— Cinematographer Andrey Nikolaev

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