ARRI ALEXA Mini Camera | 36 Titles
Game of Thrones (2011)
Country | USA, UK
Type | Television Series
Running Time | 57 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Anette Haellmigk, Jonathan Freeman, Robert McLachlan, Fabian Wagner, David Franco, Gregory Middleton, P.J. Dillon, Matthew Jensen, Alik Sakharov, Martin Kenzie, Marco Pontecorvo, Kramer Morgenthau, Chris Seager, Sam McCurdy, David Katznelson | Editing by | Katie Weiland, Frances Parker, Crispin Green, Tim Porter, Oral Norrie Ottey, Martin Nicholson, Jesse Parker, Yan Milesmodified:
Happy Death Day 2U (2019)
Country | USA, Japan
Type | Motion Picture
Running Time | 100 Minutes
Directed by | Christopher Landon | Cinematography by | Toby Oliver | Editing by | Ben Baudhuin Cameras | ARRI ALEXA Mini Camera
Lenses | Cooke S4/i Lenses
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Christopher Robin (2018)
Country | UK, USA
Type | Motion Picture
Running Time | 104 Minutes
Aspect Ratio | 2.39:1
Directed by | Marc Forster | Cinematography by | Matthias Koenigswieser | Editing by | Matt Chesse Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses | Panavision APO Panatar Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
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Happy Death Day (2017)
Country | USA
Type | Motion Picture
Running Time | 96 Minutes
Directed by | Christopher Landon | Cinematography by | Toby Oliver | Editing by | Gregory Plotkin Cameras | ARRI ALEXA Mini Camera
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A Girl Is a Gun (2017)
Country | France
Type | Television Series, Web Series
Aspect Ratio | 2.35:1
| Cinematography by | Tobias Deml | Editing by | Benjamin Geronimi Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic 30-72mm 2S T4.0 Lens, Cooke Anamorphic/i 135mm T2.3 Lens, Cooke Anamorphic/i 32mm T2.3 Lens, Cooke Anamorphic/i 50mm T2.3 Lens, Cooke Anamorphic/i 75mm T2.3 Lens
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Mudbound (2017)
Country | USA
Type | Motion Picture
Running Time | 134 Minutes
Aspect Ratio | 2.39:1
Directed by | Dee Rees | Cinematography by | Rachel Morrison | Editing by | Mako Kamitsuna Cameras | ARRI ALEXA Mini Camera
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Green Book (2018) 
Country | USA
Type | Motion Picture
Running Time | 130 Minutes
Aspect Ratio | 2.0:1
Directed by | Peter Farrelly | Cinematography by | Sean Porter | Editing by | Patrick J. Don Vito Cameras | ARRI ALEXA Mini Camera
Lenses | Leica Summilux-C Series Lenses
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The Boonies (2017)
Country | USA
Type | Television Series, Web Series
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Tobias Deml | Editing by | Mark Marraccini, Monet Malek Cameras | ARRI ALEXA Mini Camera
Lenses | Zeiss Super Speeds Mk I 18 mm T1.4 Lens, Zeiss Super Speeds Mk I 35 mm T1.4 Lens, Zeiss Super Speeds Mk I 50 mm T1.4 Lens, Zeiss Super Speeds Mk I 85 mm T1.4 Lens
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The Ballad of Buster Scruggs (2018)
Country | USA
Type | Motion Picture
Running Time | 133 Minutes
Aspect Ratio | 1.85:1
Directed by | Ethan Coen, Joel Coen | Cinematography by | Bruno Delbonnel | Editing by | Ethan Coen, Joel Coenmodified:
Deadwood: The Movie (2019)
Country | USA
Type | Motion Picture
Running Time | 110 Minutes
Aspect Ratio | 2.0:1
Directed by | Daniel Minahan | Cinematography by | David Klein | Editing by | Erick Fefferman, Martin Nicholson Cameras | ARRI ALEXA Mini Camera
Lenses | Zeiss Supreme Prime Series Lenses
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Sofia (2018)
Country | France, Qatar, Belgium, Morocco
Type | Motion Picture
Running Time | 80 Minutes
Aspect Ratio | 1.85:1
Directed by | Meryem Benm'Barek-Aloïsi | Cinematography by | Son Doan | Editing by | Céline Perréard Cameras | ARRI ALEXA Mini Camera
Lenses | Cooke S4/i Lenses
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Hotel Mumbai (2018)
Country | India, Australia, USA
Type | Motion Picture
Running Time | 123 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 2048x854 - (2.40:1) Capture Resolution
Directed by | Anthony Maras | Cinematography by | Nick Remy Matthews | Editing by | Anthony Maras, Peter McNulty Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
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Mary Poppins Returns (2018)
Country | USA, UK
Type | Motion Picture
Running Time | 130 Minutes
Aspect Ratio | 2.39:1
Directed by | Rob Marshall | Cinematography by | Dion Beebe | Editing by | Wyatt Smith Lenses | Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens
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Black Panther (2018)
Country | USA
Type | Motion Picture
Running Time | 134 Minutes
Capture Resolution | 1024x540 - (1.90:1) Capture Resolution, 4448 x 1856 - (2.39:1) Capture Resolution
Directed by | Ryan Coogler | Cinematography by | Rachel Morrison | Editing by | Debbie Berman, Michael P. Shawver Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus, Canon EOS-C300 Mark II Camera, Red Weapon Dragon Camera
Lenses | Panavision Primo Classic Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision SL27-M 27 mm T1.9 Lens, Panavision SL30-MS 30 mm T1.9 Lens, Panavision SL35-M 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens
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PEN15 (2019)
Country | USA
Type | Television Series
Running Time | 30 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Andy Rydzewski | Editing by | Taichi Erskine, Matt McBrayer, Amelia Allwarden Cameras | ARRI ALEXA Mini Camera
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The Girl in the Spider’s Web (2018)
Country | Germany, Sweden, USA
Type | Motion Picture
Running Time | 115 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 3840 x 2160 (1.78:1) - Capture Resolution, 6560 x 3100 - (2.12:1) Capture Resolution
Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Tatiana S. Riegelmodified:
Dogs of Berlin (2018)
Country | Germany
Type | Television Series
Running Time | 542 Minutes
Aspect Ratio | 2.0:1
Capture Resolution | 3424 x 2202 - (1.55:1) Capture Resolution, 5120 x 2880 - (1.78:1) Capture Resolution, 6560 x 3100 - (2.12:1) Capture Resolution
| Cinematography by | Christoph Krauss, Frank Lamm | Editing by | Marc Hofmeister, Bobby Good Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Lenses | ARRI Rental Prime 65 28mm T4.0 Lens, ARRI Rental Prime DNA Lenses, Leica Summilux-C Series Lenses
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Queen of the South (2016)
Country | USA, Spain, Malta, Mexico
Type | Television Series
Running Time | 42 Minutes
Aspect Ratio | 1.78:1 (16x9)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| Cinematography by | Abraham Martinez, John Brawley, Cameron Duncan, Alejandro Martínez | Editing by | Matthew Philip Smith, Priscilla Nedd-Friendly, Briana London, Juan Carlos Garza, Philip Carr Neel, Nicole Brik, Amy M. Fleming, Betsy C. Thompson, Harvey Rosenstock, Benjamin Howdeshell Cameras | ARRI ALEXA Mini Camera, Blackmagic Design Cameras
Lenses | Panavision PVintage 100 mm T1.6 Lens, Panavision PVintage 14 mm T1.9 Lens, Panavision PVintage 17 mm T1.9 Lens, Panavision PVintage 24 mm T1.2 Lens, Panavision PVintage 29 mm T1.2 Lens, Panavision PVintage 35 mm T1.6 Lens, Panavision PVintage 40 mm T1.3 Lens, Panavision PVintage 50 mm T1.0 Lens, Panavision PVintage 75 mm T1.6 Lens
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The Resident (2018)
Country | USA
Type | Television Series
Running Time | 60 Minutes
Aspect Ratio | 1.78:1 (16x9)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| Cinematography by | John Brawley, Hilda Mercado, Elliot Davis | Editing by | Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon Cameras | ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses | Leica Summicron-C 135 mm T2.0 Lens, Leica Summicron-C 18 mm T2.0 Lens, Leica Summicron-C 21 mm T2.0 Lens, Leica Summicron-C 25 mm T2.0 Lens, Leica Summicron-C 29 mm T2.0 Lens, Leica Summicron-C 35 mm T2.0 Lens, Leica Summicron-C 40 mm T2.0 Lens, Leica Summicron-C 50 mm T2.0 Lens, Leica Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
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Second Act (2018)
Country | USA
Type | Motion Picture
Running Time | 103 Minutes
Aspect Ratio | 2.39:1
Directed by | Peter Segal | Cinematography by | Ueli Steiger | Editing by | Jason Gourson Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 17-80mm T2.2 Lens, Angenieux Optimo 24-290mm T2.8 Lens, Angenieux Optimo 28-76mm T2.6 Lens, ARRI Ultra Wide Zoom 9.5-18mm T2.9 Lens
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