DOP Roger Deakins should no longer have to be introduced. Who does not know him nevertheless yet: de.wikipedia.org/wiki/Roger_Deakins#Filmografie_(selection) (catch up fast): With its camera work with Fargo, The Big Lebowski, James Bond, Blade Runner 2049 etc.. and many other blockbusters Deakins ranks among the ?living legends? in things DOPs:
In this video he talks about his demands on his camera image and his experiences with different ARRI equipment, including the ARRI Alexa Mini LF, the Signature Primes and the Trinity stabilisation system.
His critical statements on flares and legacy lenses are unusual and refreshing: In times when many are looking for a softer, warmer look, Deakins demands the absence of artifacts and the best possible resolution for his imagery.
Also interesting are his comments on the preferred look of large format cameras in contrast to S35 as more natural for him and the advantages of a 40mm lens with CloseUps with less distortion and still larger image angle.
If you want to see Roger Deakin&s work with the ARRI ALEXA Mini LF and the Trinity stabilisation system in a current production, you should remember 1917 under the direction of Sam Mendes (James Bond). This 1st World War film will be shown in cinemas in December. But you can already see the trailer:
As well as a Behind the Sceens of this again quite elaborate production: