 | Directed by | Kenneth Branagh Cinematography by ~ Haris Zambarloukos Cameras | ARRI ALEXA 65 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision System 65 Camera Lenses | Panavision Sphero 65 Series Lenses |
Search Results: Alexa | 1848 Titles
Murder on the Orient Express (2017)
Baywatch (2017)
 | Directed by | Seth Gordon Cinematography by ~ Eric Steelberg Cameras | 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 |
Roma (2018)
 | Directed by | Alfonso Cuarón Cinematography by ~ Alfonso Cuarón Cameras | ARRI ALEXA 65 Camera Lenses | ARRI Rental Prime 65 Lenses |
John Wick: Chapter 2 (2017)
 | Directed by | Chad Stahelski Cinematography by ~ Dan Laustsen Cameras | ARRI ALEXA XT Plus Camera Lenses | Angenieux Optimo Anamorphic Lenses, ARRI / Zeiss Master Anamorphic Lenses |
Struck by Lightning (2012)
 | Directed by | Brian Dannelly Cinematography by ~ Bobby Bukowski Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Zeiss Super Speed Lenses |
3 Geezers! (2013)
 | Directed by | Michelle Schumacher Cinematography by ~ Pete Villani Cameras | ARRI ALEXA Camera, ARRI Cameras |
In Time (2011)
 | Directed by | Andrew Niccol Cinematography by ~ Roger Deakins Cameras | ARRI ALEXA Camera Lenses | Zeiss Master Prime Lenses |
Thanks for Sharing (2012)
 | Directed by | Stuart Blumberg Cinematography by ~ Yaron Orbach Cameras | ARRI ALEXA Camera |
Wild Bill (2011)
 | Directed by | Dexter Fletcher Cinematography by ~ George Richmond Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses |
New Year’s Eve (2011)
 | Directed by | Garry Marshall Cinematography by ~ Charles Minsky Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
L’enfant d’en haut (2012)
 | Directed by | Ursula Meier Cinematography by ~ Agnès Godard Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
Seeking a Friend for the End of the World (2012)
 | Directed by | Lorene Scafaria Cinematography by ~ Tim Orr Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses |
The Dictator (2012)
 | Directed by | Larry Charles Cinematography by ~ Lawrence Sher Cameras | ARRI ALEXA Camera, Canon EOS-5D Mark III Camera Lenses | Panavision Primo Anamorphic Lenses |
À moi seule (2012)
 | Directed by | Frédéric Videau Cinematography by ~ Marc Tevanian Cameras | ARRI ALEXA Camera Lenses | Panavision Primo Anamorphic Lenses |
Madea’s Witness Protection (2012)
 | Directed by | Tyler Perry Cinematography by ~ Alexander Gruszynski Cameras | ARRI ALEXA Camera Lenses | Panavision Primo Anamorphic Lenses |
2 Days in New York (2012)
 | Directed by | Julie Delpy Cinematography by ~ Lubomir Bakchev Cameras | ARRI ALEXA Camera, Sony HDW-750 Camera Lenses | Zeiss Ultra Prime Lenses, Zeiss Ultra Prime Planar 50 mm T1.9 Lens |
Tower Heist (2011)
 | Directed by | Brett Ratner Cinematography by ~ Dante Spinotti Cameras | ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera Lenses | Hawk V-Lite Lenses, Panavision G Series Anamorphic Lenses |
Türkisch für Anfänger (2012)
 | Directed by | Bora Dagtekin Cinematography by ~ Torsten Breuer, Benjamin Dernbecher Cameras | ARRI ALEXA Camera |
The Inbetweeners Movie (2011)
 | Directed by | Ben Palmer Cinematography by ~ Ben Wheeler Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
