ARRI ALEXA Plus 4:3 Camera | 28 Titles
Focus (2015)
Country | USA, Argentina
Type | Motion Picture
Running Time | 105 Minutes
Aspect Ratio | 1.85:1
Directed by | Glenn Ficarra, John Requa | Cinematography by | Xavier Grobet | Editing by | Jan Kovac
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera
Lenses | Hawk V-Lite Lenses, Hawk V-Plus Lenses
modified:
Before I Fall (2017)
Country | USA
Type | Motion Picture
Running Time | 98 Minutes
Directed by | Ry Russo-Young | Cinematography by | Michael Fimognari | Editing by | Joe Landauer
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Lite Lenses, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Plus Lenses
modified:
The Hollars (2016)
Country | USA
Type | Motion Picture
Running Time | 88 Minutes
Aspect Ratio | 1.85:1
Directed by | John Krasinski | Cinematography by | Eric Alan Edwards | Editing by | Heather Persons
Cameras | ARRI ALEXA Plus 4:3 Camera
modified:
Jason Bourne (2016)
Country | USA, China
Type | Motion Picture
Running Time | 123 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 2880x2160 - (1.33:1) Capture Resolution, 4096x2160 - (1.90:1) Capture Resolution, 6144x3160 - (1.94:1) Capture Resolution
Directed by | Paul Greengrass | Cinematography by | Barry Ackroyd | Editing by | Christopher Rouse
Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Canon EOS-C500 Camera, Codex Action Cam, Red Epic Dragon Camera
Lenses | Angenieux Optimo Zoom Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Kowa Cine Prominar Spherical Lenses, Panavision Lenses, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses
modified:
Dope (2015)
Country | USA
Type | Motion Picture
Running Time | 103 Minutes
Aspect Ratio | 2.39:1
Directed by | Rick Famuyiwa | Cinematography by | Rachel Morrison | Editing by | Lee Haugen
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera
modified:
The VVitch: A New-England Folktale (2015)
Country | UK, Canada, USA
Type | Motion Picture
Running Time | 92 Minutes
Aspect Ratio | 1.66:1
Directed by | Robert Eggers | Cinematography by | Jarin Blaschke | Editing by | Louise Ford
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Bausch & Lomb Super Baltar Lenses, Cooke Speed Panchro Lenses, Panavision Super Speed Lenses
modified:
Tenemos que hablar (2016)
Country | Spain
Type | Motion Picture
Running Time | 91 Minutes
Directed by | David Serrano | Cinematography by | Juan Carlos Gómez | Editing by | Alberto de Toro
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo 45-120mm T2.8 Lens, Angenieux Optimo DP 16-42mm T2.8 Lens, Angenieux Optimo DP 30-80mm T2.8 Lens, Cooke S4/i Lenses
modified:
Yves Saint Laurent (2014)
Country | France, Belgium
Type | Motion Picture
Running Time | 106 Minutes
Directed by | Jalil Lespert | Cinematography by | Thomas Hardmeier | Editing by | François Gédigier
modified:
Kelly & Cal (2014)
Country | USA
Type | Motion Picture
Running Time | 111 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 4480x1920 - (2.33:1) Capture Resolution
Directed by | Jen McGowan | Cinematography by | Philip Lott | Editing by | David Hopper
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Hawk V-Series Lenses
modified:
If I Stay (2014)
Country | USA
Type | Motion Picture
Running Time | 107 Minutes
Aspect Ratio | 2.39:1
Directed by | R.J. Cutler | Cinematography by | John de Borman | Editing by | Keith Henderson
Cameras | ARRI ALEXA Plus 4:3 Camera, Canon EOS-C500 Camera
modified:
A Walk Among the Tombstones (2014)
Country | USA
Type | Motion Picture
Running Time | 114 Minutes
Aspect Ratio | 2.39:1
Directed by | Scott Frank | Cinematography by | Mihai Malaimare Jr. | Editing by | Jill Savitt
Cameras | ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision Ultra Speed MKII Lenses
modified:
The Interview (2014)
Country | USA
Type | Motion Picture
Running Time | 112 Minutes
Aspect Ratio | 2.39:1
Directed by | Evan Goldberg, Seth Rogen | Cinematography by | Brandon Trost | Editing by | Zene Baker, Evan Henke
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses
modified:
The Theory of Everything (2014)
Country | UK, Japan, USA
Type | Motion Picture
Running Time | 123 Minutes
Aspect Ratio | 2.39:1
Directed by | James Marsh | Cinematography by | Benoît Delhomme | Editing by | Jinx Godfrey
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRIFLEX 16SR3 Camera
modified:
Ida (2013)
Country | Poland, Denmark, France, UK
Type | Motion Picture
Running Time | 82 Minutes
Aspect Ratio | 1.33:1 (4x3)
Directed by | Pawel Pawlikowski | Cinematography by | Ryszard Lenczewski, Lukasz Zal | Editing by | Jaroslaw Kaminski
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Zeiss Ultra Prime Lenses
modified:
Cake (2014)
Country | USA
Type | Motion Picture
Running Time | 102 Minutes
Aspect Ratio | 2.39:1
Directed by | Daniel Barnz | Cinematography by | Rachel Morrison | Editing by | Kristina Boden, Michelle Harrison
Cameras | ARRI ALEXA Plus 4:3 Camera
modified:
Big Eyes (2014)
Country | USA, Canada
Type | Motion Picture
Running Time | 106 Minutes
Aspect Ratio | 1.85:1
Directed by | Tim Burton | Cinematography by | Bruno Delbonnel | Editing by | JC Bond
modified:
The Equalizer (2014)
Country | USA
Type | Motion Picture
Running Time | 132 Minutes
Aspect Ratio | 2.39:1
Directed by | Antoine Fuqua | Cinematography by | Mauro Fiore | Editing by | John Refoua
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Angenieux Optimo Anamorphic 56-152mm 2S T4.0 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
modified:
Teenage Mutant Ninja Turtles (2014)
Country | USA
Type | Motion Picture
Running Time | 101 Minutes
Aspect Ratio | 2.39:1
Directed by | Jonathan Liebesman | Cinematography by | Lula Carvalho | Editing by | Joel Negron, Glen Scantlebury
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
modified:
3 Days to Kill (2014)
Country | USA, France, Serbia
Type | Motion Picture
Running Time | 117 Minutes
Aspect Ratio | 2.39:1
Directed by | McG | Cinematography by | Thierry Arbogast | Editing by | Audrey Simonaud
Lenses | Technovision Lenses, Zeiss Super Speed Lenses
modified:
Galore (2013)
Country | Australia
Type | Motion Picture
Running Time | 103 Minutes
Directed by | Rhys Graham | Cinematography by | Stefan Duscio | Editing by | Andy Canny
Lenses | Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens
modified:
