 | Directed by | Jalmari Helander Cinematography by ~ Mika Orasmaa Cameras | ARRI ALEXA Camera, Blackmagic Cinema Camera, Canon EOS-C300 Camera, Phantom Flex Camera, Red Epic Camera Lenses | Hawk Anamorphic Lenses |
Search Results: Alexa | 1848 Titles
Big Game (2014)
Spectre (2015)
Crimson Peak (2015)
 | Directed by | Guillermo del Toro Cinematography by ~ Dan Laustsen Cameras | ARRI ALEXA XT Camera |
The 33 (2015)
 | Directed by | Patricia Riggen Cinematography by ~ Checco Varese Cameras | ARRI ALEXA XT Plus Camera, Silicon Imaging SI-2K Nano Camera Lenses | Angenieux Optimo Anamorphic Lenses, Cooke S4 Lenses, Kowa JC10M Series Lenses, Zeiss Ultra Prime Lenses |
Anonymous (2011)
 | Directed by | Roland Emmerich Cinematography by ~ Anna Foerster Cameras | ARRI ALEXA Camera Lenses | Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses |
Steve Jobs (2015)
 | Directed by | Danny Boyle Cinematography by ~ Alwin H. Küchler Cameras | ARRI ALEXA XT Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 416 Plus Camera, Red Epic Dragon Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke Speed Panchro Lenses, Zeiss Compact Prime Lenses, Zeiss Master Prime Lenses, Zeiss Standard Speed Prime Lenses |
I’m Off Then (2015)
Tenemos que hablar (2016)
 | Directed by | David Serrano Cinematography by ~ Juan Carlos Gómez Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Cooke S4/i Lenses |
The Boss (2016)
 | Directed by | Ben Falcone Cinematography by ~ Julio Macat Cameras | ARRI ALEXA 65 Camera Lenses | Leitz Summilux-C Series Lenses |
The Boy (2016)
 | Directed by | William Brent Bell Cinematography by ~ Daniel Pearl Cameras | ARRI ALEXA XT Plus Camera Lenses | Hawk Vantage One Lenses |
The Nice Guys (2016)
 | Directed by | Shane Black Cinematography by ~ Philippe Rousselot Cameras | ARRI ALEXA XT Camera Lenses | Angenieux Optimo Anamorphic Lenses, Panavision G Series Anamorphic Lenses |
Assassin’s Creed (2016)
 | Directed by | Justin Kurzel Cinematography by ~ Adam Arkapaw Cameras | ARRI ALEXA 65 Camera |
Ray Donovan (2013)
 | Cameras | ARRI ALEXA Camera Lenses | Leitz Summilux-C Series Lenses |
House of Lies (2012)
 | Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
Star Trek Beyond (2016)
 | Directed by | Justin Lin Cinematography by ~ Stephen F. Windon Cameras | ARRI ALEXA XT Camera, Red Epic Dragon Camera Lenses | ARRI / Zeiss Master Anamorphic Lenses, Zeiss Compact Prime Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses |
Fantastic Beasts and Where to Find Them (2016)
 | Directed by | David Yates Cinematography by ~ Philippe Rousselot Cameras | ARRI ALEXA XT Camera Lenses | Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses |
The Precipice Game (2016)
 | Directed by | Zao Wang Cinematography by ~ Joewi Verhoeven Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA Studio Camera Lenses | Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses |
Manchester by the Sea (2016)
 | Directed by | Kenneth Lonergan Cinematography by ~ Jody Lee Lipes Cameras | ARRI ALEXA XT Camera Lenses | Angenieux Lenses, Canon K35 Prime Lenses |
