ARRI ALEXA Plus 4:3 Camera | 29 Titles
Sleepless (2017)
95 Minutes
Directed by | Baran bo Odar | Cinematography by | Mihai Malaimare Jr. | Editing by | Robert Rzesacz Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Super Speed Lenses
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Focus (2015)
105 Minutes
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
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Before I Fall (2017)
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
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The Hollars (2016)
88 Minutes
Directed by | John Krasinski | Cinematography by | Eric Alan Edwards | Editing by | Heather Persons Cameras | ARRI ALEXA Plus 4:3 Camera
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Jason Bourne (2016)
123 Minutes
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
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Dope (2015)
103 Minutes
Directed by | Rick Famuyiwa | Cinematography by | Rachel Morrison | Editing by | Lee Haugen Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera
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The VVitch: A New-England Folktale (2015)
92 Minutes
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
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Tenemos que hablar (2016)
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
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Yves Saint Laurent (2014)
106 Minutes
Directed by | Jalil Lespert | Cinematography by | Thomas Hardmeier | Editing by | François Gédigiermodified:
Kelly & Cal (2014)
111 Minutes
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
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If I Stay (2014)
107 Minutes
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
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A Walk Among the Tombstones (2014)
114 Minutes
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
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The Interview (2014)
112 Minutes
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
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The Theory of Everything (2014)
123 Minutes
Directed by | James Marsh | Cinematography by | Benoît Delhomme | Editing by | Jinx Godfrey Cameras | ARRI ALEXA Plus 4:3 Camera, ARRIFLEX 16SR3 Camera
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Ida (2013)
82 Minutes
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
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Cake (2014)
102 Minutes
Directed by | Daniel Barnz | Cinematography by | Rachel Morrison | Editing by | Kristina Boden, Michelle Harrison Cameras | ARRI ALEXA Plus 4:3 Camera
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Big Eyes (2014)
106 Minutes
Directed by | Tim Burton | Cinematography by | Bruno Delbonnel | Editing by | JC Bondmodified:
The Equalizer (2014)
132 Minutes
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 A2S T4.0 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
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Teenage Mutant Ninja Turtles (2014)
101 Minutes
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
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3 Days to Kill (2014)
117 Minutes
Directed by | McG | Cinematography by | Thierry Arbogast | Editing by | Audrey Simonaud Lenses | Technovision Lenses, Zeiss Super Speed Lenses
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