It’s not every day you get to see a small crew filming race cars with high-end cinema cameras and lenses. Here, cinematographer Dennis Zanatta puts you in the race with the ARRI ALEXA 35 paired with the mighty Signature Zoom 65-300mm. Check out this high-precision cinema gear and lenses for filming this high-precision sport.

Let’s be honest. The ALEXA 35 is not the first camera that comes to mind when you think of sports photography. Camcorders are much better suited for this, and if you look at the ALEV If you’re looking for a better look, you can opt for the special AMIRA. However, in this case study, cinematographer Dennis Zanatta used the precision of the ALEV 4 (ALEXA 35) combined with the exceptional zoom glass (ARRI Signature Zoom 65-300mm) to film fast cars. Moreover, Zanatta used these beasts in an indie project (very small crew). This is quite rare, as the cost of the ALEXA 35 is almost the same as the Signature Zoom (around $75,000). Read what Zanatta has to say about it below.

Zanatta: “Shooting sports is always crazy because you always have to be ready and quick and always be careful where you position the camera. Sometimes you always have to keep both eyes open because you’re looking into the viewfinder but at the same time looking around to see what’s happening because it can make you hard. My name is Denis Zanatta and I’m a cinematographer in Los Angeles, California. I’ve been working in the industry as a cameraman for 20 years. Filming cars has given me a lot of memories because I started as a cameraman in the racing industry where I filmed a lot of races from off-road to indie car to Formula 1 Moto GP. Having a camera on your shoulder and being right there with the drivers and the team filming behind the scenes is always exciting, especially for a race car fan like me. Every time we film car racing you have to keep a safe distance. It’s about our lives in case a tire goes flying or a car comes at you. But sometimes you’re in a place where you’re too far from the track. Sometimes I just want to capture the detail of the tires spinning or the tires shifting or drifting during a corner, so I want to be even closer.”

Zanatta: “I always have an extender in the kit so I can double the size of the lens. The ARRI extender has a 1.7x extender so I can get really close to the tire. When you know the pilot is making the turn, you can see the tire drifting to the side. It’s very exciting to have the opportunity to film with the ALEXA 35 and the Signature Zooms. It’s just my dream. You can’t ask for better quality than the combination of the ARRI 35 with the Signature Zooms. It’s incredible to have the ALEXA 35 with the Signature Zooms. It’s the most cinematic camera and the best lens on the market, it has a perfectly balanced, perfect weight and with the Signature Zooms everything becomes beautiful and gives the audience a different experience.”

Zanatta: “My preferred focal length is always 24-75. For me, it’s the perfect length to be closer to the action. 24-75 gives the impression of being closer, but at the same time, if you need to, you can go a little further away and closer to 75, which is just as nice a focal length as 65-300. This is a lens I always use when the race starts. It’s the perfect lens for the action and since I’m a racing fan, I just love being on camera and being the eye of the audience at the same time. Filmmaking is all about collaboration and having the best team is very important to the success of your project. We had a lot of fun. I’m filming the indie car race with the ALEXA 35 and the Signature Zooms and I can’t wait for the next race to start.” Watch the full interview below: