ARRI ALEXA XT Plus Camera | 56 Titles
Flock of Four (2017)
Directed by | Gregory Caruso | Cinematography by | Gus Bendinelli | Editing by | Vic Brown
Cameras | ARRI ALEXA XT Plus Camera
The Bookshop (2017)
Directed by | Isabel Coixet | Cinematography by | Jean-Claude Larrieu | Editing by | Bernat Aragonés
Cameras | ARRI ALEXA XT Plus Camera
Pete’s Dragon (2016)
Directed by | David Lowery | Cinematography by | Bojan Bazelli | Editing by | Lisa Zeno Churgin
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Cooke Anamorphic/i Prime Lenses
Good Boys (2019)
Directed by | Gene Stupnitsky | Cinematography by | Jonathan Furmanski | Editing by | Daniel Gabbe
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
Lenses | Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 180 mm T2.8 Lens, Zeiss Master Anamorphic 28 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens
Câini (2016)
Directed by | Bogdan Mirica | Cinematography by | Andrei Butica | Editing by | Roxana Szel
Cameras | ARRI ALEXA XT Plus Camera
Doctor Strange (2016)
Directed by | Scott Derrickson | Cinematography by | Ben Davis | Editing by | Sabrina Plisco, Wyatt Smith
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera
Lenses | Angenieux Optimo Zoom Lenses, Fujinon Premier Lenses, Panavision 65mm Prime Lenses, Panavision Primo 70 Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses
Triple 9 (2016)
Directed by | John Hillcoat | Cinematography by | Nicolas Karakatsanis | Editing by | Dylan Tichenor
Neighbors 2: Sorority Rising (2016)
Directed by | Nicholas Stoller | Cinematography by | Brandon Trost | Editing by | Zene Baker, Michael A. Webber
Cameras | ARRI ALEXA XT Plus Camera
Dirty Grandpa (2016)
Directed by | Dan Mazer | Cinematography by | Eric Alan Edwards | Editing by | Anne McCabe
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Cooke S4 Lenses
Keanu (2016)
The Boy (2016)
Directed by | William Brent Bell | Cinematography by | Daniel Pearl | Editing by | Brian Berdan
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Hawk Vantage One Lenses
The Huntsman: Winter’s War (2016)
Directed by | Cedric Nicolas-Troyan | Cinematography by | Phedon Papamichael | Editing by | Conrad Buff IV
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA XT Plus Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses
The 5th Wave (2016)
Directed by | J Blakeson | Cinematography by | Enrique Chediak | Editing by | Paul Rubell
Cameras | ARRI ALEXA XT Plus Camera
Captain America: Civil War (2016)
Directed by | Anthony Russo, Joe Russo | Cinematography by | Trent Opaloch | Editing by | Jeffrey Ford, Matthew Schmidt
Cameras | ALEXA IMAX Camera, ARRI ALEXA 65 Camera, ARRI ALEXA XT Plus Camera, GoPro HERO4 Black, Red Epic Dragon 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, Panavision Primo 70 Lenses, Panavision T Series Anamorphic Lenses
El hombre de las mil caras (2016)
Directed by | Alberto Rodríguez | Cinematography by | Alex Catalán | Editing by | José M. G. Moyano
Cameras | ARRI ALEXA XT Plus Camera
Deadpool (2016)
Directed by | Tim Miller | Cinematography by | Ken Seng | Editing by | Julian Clarke
Cameras | ARRI ALEXA XT Plus Camera
How to Be Single (2016)
Directed by | Christian Ditter | Cinematography by | Christian Rein | Editing by | Tia Nolan
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA XT Plus Camera
Terminator Genisys (2015)
Directed by | Alan Taylor | Cinematography by | Kramer Morgenthau | Editing by | Roger Barton
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Panavision Anamorphic Zoom Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
I’m Off Then (2015)
Directed by | Julia von Heinz | Cinematography by | Felix Poplawsky | Editing by | Alexander Dittner, Georg Söring
Lenses | Fujinon Alura Zoom 45-250 mm T2.8 Lens, Tokina AT-X116 Pro DX 11-16 mm f2.8 Lens, Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Ultra Prime 8R 8 mm T.2.8 Lens, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens
The Finest Hours (2016)
Directed by | Craig Gillespie | Cinematography by | Javier Aguirresarobe | Editing by | Tatiana S. Riegel
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Leitz Summilux-C Series Lenses
