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ARRI Cameras | 2118 Titles

ARRI Cameras 4.13/5 8 Votes

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Ghost in the Shell (2017)

Motion Picture | 2D | 2K Project | Color | 1.85:1 | 107 Minutes

Directed by | Rupert Sanders | Cinematography by | Jess Hall | Editing by | Billy Rich, Neil Smith

Starring | Scarlett Johansson, Pilou Asbæk, Takeshi Kitano

Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera

Lenses | Leitz Summilux-C Series Lenses, Panavision Sphero 65 65SP100 100mm T2.0 Lens, Panavision Sphero 65 65SP40 40mm T2.8 Lens, Panavision Sphero 65 65SP50 50mm T2.0 Lens, Panavision Sphero 65 65SP75 75mm T2.0 Lens

Twin Peaks (1990)

Television Series | 2D | Film Project | Color | 1.33:1 (4x3) | 47 Minutes

| Cinematography by | Frank Byers, Ronald Víctor García | Editing by | Jonathan P. Shaw, Paul Trejo, Toni Morgan, Duwayne Dunham, Mary Sweeney

Starring | Kyle MacLachlan, Michael Ontkean, Mädchen Amick, Dana Ashbrook

Cameras | ARRIFLEX Camera, Panavision Panaflex Gold II Camera

Lenses | Panavision Lenses

Raw Deal (1986)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 106 Minutes

Directed by | John Irvin | Cinematography by | Alex Thomson | Editing by | Anne V. Coates

Starring | Arnold Schwarzenegger, Kathryn Harrold, Sam Wanamaker, Paul Shenar

Cameras | ARRIFLEX 35 BL3 Camera

Lenses | Cooke Xtal Express Lenses

Victoria & Abdul (2017)

Motion Picture | 2D | Color | 2.39:1 | 111 Minutes

Directed by | Stephen Frears | Cinematography by | Danny Cohen | Editing by | Melanie Oliver

Starring | Judi Dench, Ali Fazal, Tim Pigott-Smith

Cameras | ARRI ALEXA Camera, Red Epic Dragon Camera

Lenses | Angenieux Lenses, Zeiss Master Prime Lenses

I Don’t Feel at Home in This World Anymore (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 93 Minutes

Directed by | Macon Blair | Cinematography by | Larkin Seiple | Editing by | Tomas Vengris

Starring | Melanie Lynskey, Chris Doubek, Marilyn Faith Hickey

Cameras | ARRI ALEXA Mini Camera

Lenses | Bausch & Lomb Super Baltar Lenses, Zeiss Super Speed Lenses

Beauty and the Beast (2017)

Motion Picture | 2D, 3D | 2K Project | Color | 1.90:1, 2.39:1 | 129 Minutes

Directed by | Bill Condon | Cinematography by | Tobias A. Schliessler | Editing by | Virginia Katz

Starring | Emma Watson, Dan Stevens, Luke Evans

Cameras | ARRI ALEXA XT Plus Camera

Lenses | Leitz Summilux-C Series Lenses

Love, Simon (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 110 Minutes

Directed by | Greg Berlanti | Cinematography by | John Guleserian | Editing by | Harry Jierjian

Starring | Nick Robinson, Jennifer Garner, Josh Duhamel

Cameras | ARRI ALEXA XT Camera

Lenses | ARRI / Zeiss Master Anamorphic Lenses

It (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 135 Minutes

Directed by | Andy Muschietti | Cinematography by | Chung-hoon Chung | Editing by | Jason Ballantine

Starring | Bill Skarsgård, Jaeden Martell, Finn Wolfhard

Cameras | ARRI ALEXA Mini Camera

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 Anamorphic Lenses

Suburbicon (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 105 Minutes

Directed by | George Clooney | Cinematography by | Robert Elswit | Editing by | Stephen Mirrione

Starring | Matt Damon, Julianne Moore, Oscar Isaac

Cameras | ARRI ALEXA XT Plus 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

Sorry to Bother You (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 112 Minutes

Directed by | Boots Riley | Cinematography by | Doug Emmett | Editing by | Terel Gibson

Starring | LaKeith Stanfield, Tessa Thompson, Jermaine Fowler

Cameras | ARRI ALEXA Mini Camera

Lenses | Cooke Anamorphic/i Prime Lenses

The Love Witch (2016)

Motion Picture | 2D | 2K Project | Color | 1.85:1 | 120 Minutes

Directed by | Anna Biller | Cinematography by | M. David Mullen | Editing by | Anna Biller

Starring | Samantha Robinson, Jeffrey Vincent Parise, Laura Waddell, Gian Keys

Cameras | ARRICAM Studio (ST) Camera

Lenses | Angenieux Optimo Zoom Lenses, Zeiss Standard Speed Prime Lenses, Zeiss Super Speed Lenses

Chasing Amy (1997)

Motion Picture | 2D | Film Project | Color | 1.85:1 | 113 Minutes

Directed by | Kevin Smith | Cinematography by | David Klein | Editing by | Scott Mosier, Kevin Smith

Starring | Ben Affleck, Joey Lauren Adams, Ethan Suplee, Scott Mosier

Cameras | ARRIFLEX 16SR2 Camera

Lenses | Zeiss Super Speed Lenses

Causeway (2022)

Motion Picture | 2D | 4K Project | Color | 1.85:1 | 94 Minutes

Directed by | Lila Neugebauer | Cinematography by | Diego García | Editing by | Robert Frazen, Lucian Johnston

Starring | Jennifer Lawrence, Brian Tyree Henry, Linda Emond

Cameras | ARRI ALEXA LF Camera

Lenses | Panavision H Series Lenses

Swiss Army Man (2016)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 97 Minutes

Directed by | Daniel Kwan, Daniel Scheinert | Cinematography by | Larkin Seiple | Editing by | Matthew Hannam

Starring | Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Phantom Flex4K Camera, Red Epic Dragon Camera, Sony PMW-EX3 Camera

Lenses | Angenieux Optimo Zoom Lenses, Cooke Anamorphic Lenses, Cooke S4/i Lenses, Cooke Xtal Express Lenses, Zeiss Super Speed Lenses

All the Money in the World (2017)

Movie | 2D | 2K Project | Black & White, Color | 2.39:1 | 132 Minutes

Directed by | Ridley Scott | Cinematography by | Dariusz Wolski | Editing by | Claire Simpson

Starring | Michelle Williams, Christopher Plummer, Mark Wahlberg

Cameras | ARRI ALEXA XT Series Cameras

Lenses | Panavision Super Speed Lenses

Life Itself (2018)

Motion Picture | 2D | Color | 2.39:1 | 117 Minutes

Directed by | Dan Fogelman | Cinematography by | Brett Pawlak | Editing by | Julie Monroe

Starring | Oscar Isaac, Olivia Wilde, Annette Bening

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera

Lenses | Cooke Panchro/i Classic Lenses

Kin (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 102 Minutes

Directed by | Jonathan Baker, Josh Baker | Cinematography by | Larkin Seiple | Editing by | Mark Day

Starring | Myles Truitt, Jack Reynor, Dennis Quaid

Cameras | ARRI ALEXA Mini Camera

Lenses | Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

American Animals (2018)

Motion Picture | 2D | Color | 2.39:1 | 116 Minutes

Directed by | Bart Layton | Cinematography by | Ole Bratt Birkeland | Editing by | Luke Dunkley, Nick Fenton, Chris Gill, Julian Hart

Starring | Spencer Reinhard, Warren Lipka, Eric Borsuk

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Sony α7S II Camera

Lenses | Cooke Anamorphic Lenses, Leica R Series Lenses, Zeiss Super Speed Lenses

Wildlife (2018)

Motion Picture | 2D | 4K Project | Color | 1.85:1 | 105 Minutes

Directed by | Paul Dano | Cinematography by | Diego García | Editing by | Louise Ford, Matthew Hannam

Starring | Ed Oxenbould, Jake Gyllenhaal, Carey Mulligan

Cameras | ARRI ALEXA XT Camera

Lenses | Panavision Primo Primes Spherical Lenses

In Fabric (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 118 Minutes

Directed by | Peter Strickland | Cinematography by | Ari Wegner | Editing by | Mátyás Fekete

Starring | Sidse Babett Knudsen, Marianne Jean-Baptiste, Julian Barratt

Cameras | ARRI ALEXA Mini Camera

Lenses | Angenieux HP Zoom Lenses, Zeiss Super Speed Lenses

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