ARRI Cameras | 2118 Titles
Vatertage – Opa über Nacht (2012)
Directed by | Ingo Rasper | Cinematography by | Ueli Steiger | Editing by | Ueli Christen
Cameras | ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens
Frau Ella (2013)
Directed by | Markus Goller | Cinematography by | Ueli Steiger | Editing by | Simon Gstöttmayr
Cameras | ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens
The Best Man Holiday (2013)
Directed by | Malcolm D. Lee | Cinematography by | Greg Gardiner | Editing by | Paul Millspaugh
Cameras | ARRI ALEXA Plus 4:3 Camera
Diana (2013)
Directed by | Oliver Hirschbiegel | Cinematography by | Rainer Klausmann | Editing by | Hans Funck
Cameras | ARRICAM Lite (LT) Camera
Lenses | Zeiss Master Prime Lenses
Last Vegas (2013)
Directed by | Jon Turteltaub | Cinematography by | David Hennings | Editing by | David Rennie
Cameras | ARRI ALEXA Camera
Detektiv Downs (2013)
Directed by | Bård Breien | Cinematography by | Gaute Gunnari | Editing by | Zaklina Stojcevska
Cameras | ARRI ALEXA Camera
Enough Said (2013)
Directed by | Nicole Holofcener | Cinematography by | Xavier Grobet | Editing by | Robert Frazen
Cameras | ARRI ALEXA Studio Camera
Lenses | Leitz Summilux-C Series Lenses
All Is Lost (2013)
Directed by | J.C. Chandor | Cinematography by | Frank G. DeMarco, Peter Zuccarini | Editing by | Pete Beaudreau
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Standard Speed Prime Lenses
The Fifth Estate (2013)
Directed by | Bill Condon | Cinematography by | Tobias A. Schliessler | Editing by | Virginia Katz
Cameras | ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Zeiss Master Prime Lenses
One for the Road (2009)
The Family (2013)
Directed by | Luc Besson | Cinematography by | Thierry Arbogast | Editing by | Julien Rey
Lenses | Angenieux Optimo Zoom 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
Je vais te manquer (2009)
Directed by | Amanda Sthers | Cinematography by | Régis Blondeau | Editing by | Elise Fievet
Cameras | ARRICAM Lite (LT) Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
The Finder (2012)
| Cinematography by | Sidney Sidell | Editing by | Evonne Moritz, Chris Brookshire, Thomas R. Moore, Casey O. Rohrs
Cameras | ARRI ALEXA Camera
Verrückt nach Paris (2002)
Directed by | Pago Bahlke, Eike Besuden | Cinematography by | Piotr Lenar | Editing by | Margot Neubert-Maric
Lenses | Fujinon E Series Lenses, Zeiss Lenses
Need for Speed (2014)
Directed by | Scott Waugh | Cinematography by | Shane Hurlbut | Editing by | Paul Rubell, Scott Waugh
Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Space Battleship Yamato (2010)
The Canyons (2013)
Directed by | Paul Schrader | Cinematography by | John DeFazio | Editing by | Tim Silano
Cameras | ARRI ALEXA Camera, Canon EOS-7D Camera
Lenses | Asahi Pentax Super Takumar Lenses, KMZ Helios 44 58 mm f1.2, LZOS Jupiter-9 85 mm f2.0, Zeiss Standard Speed Prime Lenses
Accomplices (2009)
Directed by | Frédéric Mermoud | Cinematography by | Thomas Hardmeier | Editing by | Sarah Anderson
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Cinéman (2009)
Directed by | Yann Moix | Cinematography by | Jérôme Alméras, Rémy Chevrin | Editing by | André Billaud, Philippe Bourgueil, Marco Cavé, Christine Lucas Navarro
Lovelace (2013)
Directed by | Rob Epstein, Jeffrey Friedman | Cinematography by | Eric Alan Edwards | Editing by | Robert Dalva, Matt Landon
Cameras | ARRIFLEX 416 Camera
